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T h e U n o f f i c i a l
C i r q u e d u S o l e i l N e w s l e t t e r
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E X P A N D E D I S S U E
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Issue #28e "If you have no hope: Invent" December 2003
=======================================================================
We're off and running again! Much of the Northern Hemisphere has
finally received that blast of cold air that announces Old Man Winter
is fast approaching. In many countries, that also means Christmas
time. In the southern hemisphere, Old Man Winter is absent as warm,
sunny skies take over. Such an interesting contrast, all thanks to the
tilt of the Earth's axis. What a wonderful world, no?
This month, as always, we've got a plethora of information to share
with you about our favorite circus (that would be Cirque du Soleil in
case anyone is confused). Solstom, Cirque du Soleil's newest
television production, has premiered on Canadian television (and
anywhere the CBC can be watched) and our own Wayne Leung who hails
from this proud land reviews the first episode for us! He also
provides us with a wonderful peek into the creation Les 7 Doigts de la
Main, which we've heard so much about these last couple of months.
He'll return each month for the next few issues with further episode
reviews as the series progresses, as he did for the Fire Within
coverage he provided months back.
Also, Paul Roberts takes a look at the similarities between Cirque
bands, as in their dynamics, which proves quite interesting when you
think about it. Keith Johnson brings us up to date on the goings-on at
Cirque Club and also invisions a great stocking that would help
celebrate Cirque's 20th Anniversary. There's also an update about the
Matthew Cusick case, which has literally turned the fan community
upside down. Some people have renounced their fan-status against
Cirque due to their alleged actions in releasing Mr. Cusick from his
contract because he is HIV-positive. And it's caused quite a stir in
San Francisco where organized protests have been taking place. We
bring you up to date on what we know of the case and provide links to
various news sources covering it.
I hope you enjoy this issue of Fascination!
/// EXPANDED ISSUE: Once again the LA PRESSE section was elevated and
expanded to capture and republish a number of stories we only linked
to in our original issue. Now we feature the full text of Cirque's
involvement with CIPA and what creative and original IT solution it
came away with through its involvement ("From Dream World to Artistic
Performance"), an interesting look at kung-fu techniques employed by
Cirque du Soleil shows ("Kung-Fu Under the Big Top"), a complete
technical run-down of Zumanity from Entertainment Design ("Peep
Show: Zumanity"), and an update on performers that Inside Gymnastics
had been following throughout the year. You'll find all of these in
the section called LA PRESSE: CIRQUE IN THE PRESS within! ///
- Ricky
===========
CONTENTS
===========
* Cirque Buzz -- News, Rumours & Sightings
* CRQ-TV -- Cirque on Television
* CRQ.NET -- This Month in Cirque Club
* LA PRESSE -- Cirque in the Press [EXPANDED]
* Itinéraire -- Tour/Show Information
* Didyaknow? -- Facts About Cirque
* Télémagik:
"When the Wind Blows the Circus Will Rock: Cirque
du Soleil Solstrom"
By: Wayne Leung - Ottawa, Ontario (Canada)
* Special Engagement:
"Cirque Du-Scrimination? -- Update on the Cusick Case"
By: Ricky Russo - Orlando, Florida (USA)
* Cirque Musique:
"Cirque Similarities du Bands"
By: Paul Roberts - Hamilton, Ohio (USA)
* The Cirque Connection:
"Two Thumbs (and 7 fingers) way up! A Review of Les 7
Doigts de la Main"
By: Wayne Leung - Ottawa, Ontario (Canada)
* Le Spectateur:
"A Christmas Stocking Stuffer"
By: Keith Johnson - Seattle, Washington (USA)
* Parting Quote
* Subscription Information
* Copyright & Disclaimer
=======================================================================
CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS
=======================================================================
Cirque a finalist for CIPA Award
--------------------------------
In Canada, among the I.T. (Information Technology) crowd, the
Canadian Information Productivity Award (CIPA) "constitutes the
highest form of recognition for an organization's outstanding
achievements in the strategic use of innovative information
technology solutions," and Cirque du Soleil was a finalist in
the run for this prestigious award for 2003! "Winning the award
means you have won honour among your peers for a solution that
stands out from the large number of entries submitted each year
from across the country."
What did Cirque do?
In September 2000, Cirque's IT specialists imagined what is
referred to as "Cirque Memory", a project that would allow for
all Cirque employees to be able to input and access information
with regard to all production aspects in real time, regardless
of where they were located globally. Cirque Memory has recently
gone live after 3 years in development and has been a huge
success!
Cirque Memory was built using Microsoft products, "including
Windows 2000, Internet Information Server 5.0 and SQL Server
2000" and consists of six in-house applications: Casting (which
manages the casting enterprise), Make-up (a database that holds
a visual summary of make-up creations), Costume Memory (to
manage and control the customized patterns and design and
alteration notes), Medi-Cirque (that manages medical information
on every single performer), Kin-Cirque (a physical fitness
program developer) and Act Management (which enables trainers to
manage the position at a precise moment in a specific act).
While Cirque du Soleil did not win a CIPA, it came away with a
creative and original solution to a problem that has plagued
their ever-expanding entertainment empire. To learn more about
the CIPA and Cirque's involvement as a finalist, check out our
LA PRESSE: CIRQUE IN THE NEWS section. [Source: www.cipa.com,
Wayne Leung; Ricky Russo]
Prime Minister thanks Cirque
----------------------------
On the 13th of November, Liberals from across Canada gathered at
the Air Canada Centre in Toronto to honor Prime Minister Jean
Chrétien, who gave a farewell speech to a massive audience as he
prepared to step down as Prime Minister. The speech reflected
his accomplishments, goals and ideals as well as a vision of the
future for Canadians. Mr. Chrétien spoke of the pride and the
perils of governing a country sometimes divided by language and
pride, but was proud of the accomplishments during his forty-
year career. Cirque was on-hand to perform a special tribute to
Mr. Chrétien.
"We have worked hard to ensure that our values - Canadian values
- are what have guided our government and its policies," said
Prime Minister Chrétien. "We have restored the pride in who we
are. Look at the cultural vitality of Canada today. We saw the
wonderful artists here tonight. The magic of Le Cirque du Soleil
is seducing audiences around the world, and transforming
entertainment in the 21st Century."
What did Cirque choose to present?
An interesting routine featuring a female artist performing solo
within a translucent, latex bubble. Our own Wayne Leung, who
caught just a bit of this performance, described it as
performing shapes and figures within the bubble only to later
emerge, bursting out of her confinement.
"My friends, in every field, the Canadian arts are the most
vibrant and celebrated they've ever been." [Source: Canadian
Government, Wayne Leung; Ricky Russo]
Another Cirque in Las Vegas?
----------------------------
According to the Las Vegas Sun, rumors were flying over the
Thanksgiving Holiday that Cirque du Soleil and MGM-Mirage had
struck a deal to open yet another show on the Las Vegas Strip.
This time Cirque would be housed in the Mirage's Siegfried & Roy
theater and open in June 2005. The theater would remain
dedicated to the magical duo, however. It's an amazing rumour,
as this would put five Cirque shows in Las Vegas by 2005
(Mystère, "O", Zumanity, MGM 2004 and Mirage 2005) not to
mention shows by Franco Dragone, Cirque's former Mise en Scene
(Celine's Show at Ceasers and upcoming shows for Steve Wynn's
resort). This is, however, just a rumor and we await further
conformation by both Cirque du Soleil and MGM-Mirage. [Source:
Las Vegas Sun; Ricky Russo]
SOLSTROM Around the World
-------------------------
According to Variety, the Canadian Broadcasting Corporation
(CBC) has inked deals with several non-Canadian broadcasting
companies to air SOLSTROM. This includes Mediacorp 12 in
Singapore, Asia Television in Hong Kong, Joongang Broadcasting
in South Korea, Romanian TV, and Station YLI in Finland. SOLSTOM
is currently airing Sunday nights at 8:00pm EST on the CBC and
will air on BRAVO USA in 2004. [Source: Variety; Ricky Russo]
A Special Guest Performs in "O"
-------------------------------
We knew it would happen some day, thanks to the efforts of Joan
Lunden, who had a chance to perform a rehearsal in Cirque du
Soleil's "O" at Bellagio, Las Vegas for her show "Behind Closed
Doors" on A&E. This time, ABC News anchor Diane Sawyer got into
the groove as she performed live with Cirque du Soleil on
Wednesday, November 18th.
"Sawyer performed in three segments," writes Timothy McDarrah of
VegasBeat, a column that appears in the Las Vegas Sun. "Plus the
finale, where she was dressed in a zebra suit and submerged in
water. She was also dangled 100 feet above the stage."
The performance, as we understand, was a ratings sweep event for
ABC, which allowed the Good Morning America stars to live out
their fantasies.
"It was do or die for me out there," Sawyer said in VegasBeat.
She had three hours to prep before she hit the stage. And,
McDarrah reports, there was no announcement made to the public
that Sawyer was amongst the performers. [Source: Las Vegas Sun;
Ricky Russo]
Ticket Prices Rise
------------------
Effective Dec. 16, Cirque is raising prices on its new
"Zumanity" show. Cabaret stool prices rise from $55 to $65,
theater seats from $75 to $85, love seats (for two) are now $170
and duo sofas are $210 -- more than $100 per fanny. This
announcement compliments the previously reported rise in ticket
prices for Mystère, which will rise from $88.00 to $95.00
effective December 19th. [Source: Treasure Island; Ricky Russo]
Kia Ora, Jen
------------
Once in a while you come across someone special, a person with
whom you feel comfortable talking about all sorts of things. For
me, that person has been Jen Waldman, our resident Techie Geek.
Over the short years we've known each other, she has been a
wonderful friend and a great contributor to Fascination, and
well... let her tell you...
Dear all you lovely readers:
Well, I had fun being your Techie Geek for a while, but the time
has come to move on. I am leaving the USA to attend graduate
school in New Zealand and since I am focusing on Library
Studies, I will have less opportunity to investigate technical
theatre. I'll still contribute from time to time, either as a
Research Geek (once a geek, always a geek) or as a reporter on
Cirque's Asia-Pacific doings, but for a while I will not be a
full-time staff member of Fascination. Thanks to Ricky and Keith
and Wayne and Paul and all, and to everyone who ever sent me
questions. And thanks to you readers, without whom we wouldn't
have this nifty newsletter. Keep on smiling.
We wish you good luck in your endeavors in New Zealand (see, I
told you it'd work out!) and we hope to have you aboard again
real soon!
Errata
------
Last issue we mistakenly said the CBC was the Canadian
Broadcasting Company, when in fact the abbreviation stands for
the Canadian Broadcasting Corporation. And, we accidentally
transplanted our own Wayne Leung -- he's from Ottawa, Ontario
not Quebec City, Quebec (Sorry Wayne!).
=======================================================================
CRQ-TV -- CIRQUE ON TELEVISION!
=======================================================================
* NEW YEARS WITH CIRQUE!
----------------------
Network: Bravo
Footprint: United States
Website: http://www.bravo.tv/
Note: All times are Eastern
* December 25th (Thursday):
11:00am -- Le Cirque Reinvente
12:00pm -- Saltimbanco
01:00pm -- Quidam
03:00pm -- Varekai
* December 26th (Friday):
05:00am -- Saltimbanco
06:00am -- Le Cirque Reinvente
* December 31st (Wednesday):
07:00pm -- Quidam
09:00pm -- Varekai
11:00pm -- Alegría
* January 1st (Thursday):
01:00am -- Varekai
03:00am -- Quidam
05:00am -- Saltimbanco
* CIRQUE ON CANADIAN TV
---------------------
Network: CBC
Footprint: Canada
Website: http://www.cbc.ca/cirquedusoleil/
* Sunday's at 8:00pm -- SOLSTROM!
* CIRQUE DU SOLEIL: FIRE WITHIN
-----------------------------
Network: Vitaya
Footprint: Belgium (Europe)
Website: http://www.vitaya.be/
Note: Every Thursday at 9:00pm
Network: Odyssey Television
Footprint: Australia
Website: http://www.odysseytelevision.com/html/default.asp
Note: Every Wednesday at 9:30pm
* NOTE: Check your local listings for complete information. Schedule
is subject to change.
=======================================================================
CRQ.NET -- THIS MONTH IN CIRQUE CLUB
=======================================================================
(By: Keith Johnson)
Those folks at Cirque Intl. H-Q have been busy this month! Firstly,
in Press Releases is an item about the Varekai release on DVD in
Canada. Though the press release is dated Nov 30, the DVD actually
released on Nov 4, so Cirque is a little behind the times with this
one.
More current and interesting are the items from CirqueClub. A short
writeup on the Cirque For Life premiere in Portland comes first (not
to toot our own horn too much, but Fascination! covered this sooner
and in more detail last issue). And they've put a new wallpaper in
the Goodies section, showing a layout of vintage photographs. There's
also a fun article on cultural impressions of Mexico from a member of
Dralion, a hello from Japan by Shayne Courtright, German Wheel artist
in Quidam, and a historical look at Varekai's Georgian Dance.
In the "Will it Ever Stop?!" department, we have a summary of artists
impressions of touring home country Canada. And in a small
"Surprise!" mention of the Alegria Musicians In-Store in Vancouver,
BC, the "Alegria Musicians" write, "Two people even traveled all the
way from Seattle with Applets and Cotlets to share with us. Amazing!"
Allright Cirque folks, *stop* already with the Applets and Cotlets
mentions!. We know they made an impression, but really...
Most months, this would be about it. But with the Canadian premiere
of Solstrom, they've debuted a new section on the show, accessible off
the Club Homepage. Each episode gets its own writeup (though they'll
come online only as each episode is aired). They also have a
"challenge" that is said to be able to unlock special footage,
interviews, music clips and extra content. Each week involves a
different game.. We're told the "special content" will vary from week
to week. Though from the looks of it you don't necessarily have to
play the challenge to get the extra content, but that could be because
we played the game and "won" first, then logged back in to check.
But the best part of the months offerings is the return of special
holiday e-cards, including special animated ones! This will be major
fun for Cirque fans. There are three kinds: two "Animated" cards (one
of a dreamy tableau, and the other a fun snippet featuring character
heads), four "Poetic" cards (scenes and atmospheres), and four
"Creative" cards (focusing on a Cirque character). It's the Creative
cards that are the most exciting, as these allow you to add a specific
written Cirque-ey tone to your card. (We discussed how wonderful
these cards were when they originally appeared a year or so ago and
lamented their disappearance when heavy usage dragged down the Cirque
servers. Their return is most welcome.) All cards allow you to add
your own text, and you can send them to one or a number of people.
This is a great seasonal addition, and cap off a fun, busy month for
the folks in Montreal.
=======================================================================
LA PRESSE -- CIRQUE IN THE PRESS [EXPANDED]
=======================================================================
-----------------------------------------------
"From Dream World to Artistic Performance"
From: Canadian Information Productivity
-----------------------------------------------
This solution involved the creation of an innovative applications
portfolio designed to enable backstage players to manage all the
activities related to the development of artists and guide them from
the world of dreams to stage performances. The result was the
establishment of the Cirque du Soleil Memory.
OBJECTIVES
a) build the Cirque du Soleil Memory. b) provide creative personnel
and staff assisting artists with world-unique computer tools intended
to facilitate the management of artists' careers and monitoring. c)
facilitate activities related to talent scouting, auditions, casting,
make-up management, costume-making, training program management,
healthcare follow-up, and more. d) enable the sharing of critical, up-
to-date and accessible information in real time and in a stable and
adaptive manner, given the nomadic nature of the Cirque's activities.
INNOVATIVE USE OF TECHNOLOGY
Vision -- To create the Cirque Planet memory to facilitate the
management of the development of artists and artistic monitoring by
means of a set of innovative applications.
Creativity -- Information technologies were used to better identify,
facilitate and carry out a unique activity by a unique organization.
There are no benchmarks, precedents or best practices in the circus
industry. Everything was therefore designed and built to measure based
on the experience of the creators of Cirque du Soleil.
Originality -- Technology has introduced innovative solutions to meet
the specific requirements related to the creation of circus shows. For
instance, video recordings of auditions, combined with photographs of
and information about artists, assist designers and creators in making
decisions. Another example: forms in five languages help recruit
artists from around the world. Information among the various parties -
costumers, make-up artists, physiotherapists, trainers, designers and
directors -is available at all times.
Challenge and Issue -- The main challenge was to establish a winning
relationship between IT services and the various creative groups, to
forge an alliance between technology ideas and the creative act; in
short create osmosis between these two cultures. The issue was to make
a decisive contribution to the design and execution of artistic works
through the integrative capacities of the latest information
technologies.
CIPA SUCCESS STORY
The show must go on: A behind the scenes look at Cirque du Soleil's
unique IT system
High above thousands of upturned faces Marie LaLonde glides over a
jungle of trees as nymphs and other forest dwellers antiC.I.P.A.te her
descent to the forest floor. With shimmering purple wings and crimson
body, she is the only one who the creature fears, her arrival will
force him to retreat into the trees, alive and stomping in unison
towards the clearing, to greet Marie.
Two days ago, Marie was in her hometown of Dorval, Quebec, where she
commutes to Montreal daily. Marie is a solo trapeze artist with
renowned global organization, Cirque du Soleil. Tonight, as she floats
across the stage in Las Vegas, Nevada, she has been called to replace
her colleague and friend, solo trapeze artist Rina Dirks, who has come
down with a respiratory infection. Not only does Marie know the
precise choreography as she held the same role when the production was
in Toronto, she also matches Rina closely in height and weight.
Marie's replacement of Rina will allow for minimal adjustments to be
made to the tension of the suspension rigs and to the timing of her
solo performance as it coincides with the music and the movements of
the other 17 artists during each specific act. The show, as the old
adage says, must go on.
And it does. Without compromising the integrity of each of Cirque du
Soleil's 8 shows running in three continents, nor the safety to each
performer, the organization's creative personnel are able to
accurately track and facilitate activities related to healthcare of
performers. Cirque du Soleil is also able to track other performers'
availability to substitute roles of those performers who are injured
or ill in any of the many countries in which Cirque du Soleil thrills
audiences.
Cirque du Soleil has not always been able to seamlessly organize and
track its over 500 artists and all the activities related to talent
scouting, auditions, casting, make-up management, costume design,
training program management and healthcare. In September of 2000,
Cirque du Soleil's own IT department created a vision for a global
online data base that would allow all of Cirque du Soleil's 2500
employees to input and access information regarding all aspects of
production in real time. The project called Cirque Memory, was
developed over 3 years and has recently gone live with tremendous
success.
Aside from the strategic assistance of outside consultants, Cirque du
Soleil's own IT department built and implemented Cirque Memory from
the ground up. Using only the Microsoft product suite, including
Windows 2000, Internet Information Server 5.0 and SQL Server 2000, the
site development included a test environment, where usability testing
was carried out to ensure the site would be intuitive and easy to
navigate, a preproduction environment, where any glitches were worked
out, and an operations environment.
Cirque Memory comprises 6 applications, all unique to Cirque du
Soleil.
Casting: This application manages the business processes related to
casting. Cirque Memory holds over 20,000 artist data cards and brings
all the information related to auditions, hiring and employment. It is
used to manage campaigns when scouting for artistic talent from all
over the world. The forms pertaining to these functions are available
in several languages to help facilitate this process. Each performance
of Cirque du Soleil artists are videotaped and uploaded to the site to
maintain a history of talent development for every individual artist.
Make-up: Using photos and various data, this application enables
designers to manage and share information on over 8000 make-up
creations and ensure their artistic integrity. Through a visual
summary, make up artists are able to access a step-by-step approach to
full body and face make-up designs.
Costume Memory: This application enables costume workshops to manage
and control the over 5000 customized design patterns and records each
of the 4000 alteration notes that are unique to each artist.
Medi-Cirque: This application manages medical information about
artists (health status, injuries, treatment) and ensures medical
follow-up. With over 24,000 medical files, Medi-Cirque also studies
the impact of treatments during an artist's rehabilitation.
Kin-Cirque: This application enables physical fitness managers to
develop and establish the fitness programs specific for each artist
and act.
Act Management: This application enables trainers to manage the
position at a precise moment in a specific act, and to do this for
each show.
Since its inception in 1984, Cirque du Soleil is organization
dedicated to the creation, production and sharing of artistic works;
its mission is to spur the imagination, awaken the senses and arouse
the emotions of audiences around the world. Is it any wonder that a
harbinger like Cirque du Soleil would create an in-house IT system,
Cirque Memory, that was anything but innovative and creative?
-----------------------------------------------
"Kung-Fu Under the Big Top"
From: Kung-Fu Magazine
-----------------------------------------------
Every kungfu aficionado should know one word in French - Chinoiserie.
Pronounced sheen-waz-re, chinoiserie refers to something reflecting
Chinese artistic influence. It descends from a style of art that was
popular in old France. Inspired by imported Chinese textiles,
elaborate French decoration (as well as painting) began incorporating
intricate patterns in their own art that mimicked the Chinese style.
Now, as the rising sun of Chinese culture shines all over the world,
chinoiserie is becoming fashionable once again. And today's cutting
edge chinoiserie is presently showing in - of all places - the circus.
But this is a circus reinvented, perhaps the most avant-garde
performance in the entire world. For the year of the Dragon, the world
renowned Cirque Du Soleil has unveiled its latest wizardry, a
chinoiserie-themed show called Dralion.
If you have not experienced a Cirque Du Soleil production yet, you
have been missing one of the most innovative performance events of our
generation. Cirque was founded in 1984 in Quebec, the source of its
French moniker. Discard any presumptions about the circus you might
have, because Cirque is a totally new concept - a strikingly dramatic
mix of circus arts and street entertainment, featuring beautiful,
fantastic costumes, set to original live music, with no animals acts.
Since its birth, more that 23 million people worldwide have seen a
Cirque Du Soleil production and on a typical weekend this year, some
50,000 people will see one of Cirque's shows being staged
simultaneously around the world. Cirque has performed in over 120
cities worldwide, and is currently staging seven shows in four
continents. Before this immense worldwide audience its current
production, Dralion, has introduced a new element to into its myriad
acts - the art of Chinese kungfu.
Harmony Among the Elements - The Kungfu of Acrobatics
In the West, kungfu means martial arts. But in China, it is a much
broader term that means great skill or something that has taken a lot
of practice over time to acquire. Not only can you have good kungfu in
the way you fight, you can have good kungfu in the way you sing, dance
or play music. Or even how long you can do a one-handed handstand.
Chinese acrobatics have always had a strong connection to kungfu. Many
great masters, such as Hung Gar's legendary folk hero Wong Fei Hung,
earned their keep as itinerant street performers, demonstrating their
martial and acrobatic skill for contributions. Furthermore, classical
Chinese Opera stars are highly trained in both acrobatics and kungfu
because many Chinese Operas retell great battles. In fact, one of the
five classic roles for a Chinese opera star is a wusheng (martial
hero.) A wusheng must be fully trained in kungfu to be able to wield
ancient weapons in outrageously ornate costumes. Both Jackie Chan and
Sammo Hung graduated from a Chinese opera school. Westerners who
criticize contemporary Wushu for being too acrobatic overlook this
fundamental cultural context. In China, traditional kungfu is as much
a performance art as it is a combat skill.
Cirque Du Soleil The tradition of Chinese acrobatics is highly
venerated among the Chinese people. Studying traditional acrobatics
has many parallels to the hardships of kungfu training. There are even
contests. One of the most prominent is the Wuhan International
Acrobatic Festival. Cirque's performers have participated in this
festival and won many prestigious awards there. Culling thirty-five
members of China's prized Xinan Acrobatic Troupe, under the direction
of Ms. Li Xining, Cirque designed special routines to highlight their
extraordinary talents for Dralion. For four months to this show, the
Xinan troupe underwent special training in China, followed by four
more months of intensive training in Montreal. This was in addition to
their years of training in their own special skills. In April 1999,
Dralion hit the road, bringing this astonishing fusion of traditional
Chinese acrobatics and Cirque Du Soleil magic to the world.
Oceane - Dralion Crossing the Ocean
The title act, Dralion, is a blend of traditional Chinese dragon and
lion dances. The Dralion itself is a fantastic creation combining a
dragon head with a lion body, all adorned with the outrageous
trappings characteristic of the Cirque style. It is chinoiserie
incarnate, based on the traditional performance art of kungfu, Lion
dancing. Many kungfu styles practice lion dancing as a non-violent
method to display their martial prowess. In fact, the aforementioned
martial hero, Wong Fei Hung, was also known as the King of Lions.
However, most Westerners are only familiar with Canton-style lion
dance due to the predominance of Cantonese immigrants. Beyond Canton,
there are many diverse minorities throughout China, each with their
own unique animal folk dance. Cirque's Dralion is actually closer to
the rare Chinese qilin. A qilin is a mythical beast with a dragon head
and a horse or lion body. Its Japanese incarnation, the Kirin, is more
recognizable in the West due to the famous beer bearing the same name.
However, the Dralion dance is based on northern Chinese lion dance.
With a costume design unique to Cirque, the Dralion is a new
incarnation that fuses many elements.
Traditionally, only the strongest students of a kungfu school were
allowed to play the lion. This is because the lion is symbolic of the
school and the master. For Dralion, Cirque employed some of China's
top experts. Wang Bing brings over ten years of Lion dance training to
his performance as one of the Dralions. He began studying wushu at age
six, training rigorously on the basic techniques called jibengong in
Mandarin. Since his father was a circus person, he switched to
acrobatics, studying along with 600 other students at Li Xining's
circus academy. Even with over a quarter century of experience, he
still had to put in an extra six months of intensive preparation for
Dralion's most difficult stunt - three Dralions on one ball. Now this
Dralion costume is actually heavier than a traditional lion dance
costume because of the special effects devices. But Wang Bing comments
that with good basics, it is not much of an adjustment. According to
Wang, "Dralion is the combination of Chinese culture and Western
culture, so I hope more audience will come to see the show and I will
do my best to present the best to them."
Azala - Stepping Like to Walk on Air
But the centerpiece Dralion dance is only one of many extraordinary
feats within Cirque's new show. Several of Dralion's performances are
reminiscent of Chinese martial arts. In one of its most surreal
offerings, Dralion mirrors one of kungfu's most infamous training
methods, the plum flower poles. High atop plum flower poles, kungfu
students drill their footwork, refining their balance to the highest
levels. The object is not to fall off. In the mystic world of Cirque
Du Soleil, this ancient method is metamorphosed into the height of
beauty and elegance. Instead of horse stance, it is ballet point. And
instead of plum flower poles, it is light bulbs. This amazing act is
Dralion?s new Ballet on Lights.
Like kungfu, ballet requires extreme dedication and extensive
discipline. Combined with the rigorous demands of Chinese acrobatics,
there are only a few dozen performers in the world who can perform the
Ballet on Lights. In order to perform this amazing skill, Ren Cuicui
studied acrobatics from childhood. Although she has no martial
training, she studied gymnastics and teeterboard extensively, training
for six hours a day - every day - in China. She has been on tour with
Dralion for a year now, performing on average ten shows a week.
Throughout this tour, she must still practice for two hours each day,
just to maintain her skills.
According to Ren, her work for Dralion is more difficult than
performing in China. In China, she just performs what her teacher
trained her to do, but Dralion is more interpretive. She must be more
creative and artistic. These demands are challenging for the young 18-
year-old. Despite the adventure of circus life, she misses her family,
and looks forward to when she can return to China. Very soon, another
troupe will replace hers. Then she can go home and the show will go
on.
Yao - Warrior Lighting the Fire
For kungfu lovers, the most fascinating element of Dralion is Yao, the
fire. Dralion is composed around four central characters: Oceane
(ocean), Azala (air), Gaya (earth) and Yao. Yao is a kungfu warrior.
In fact, in the auditions for the role of Yao, previous kungfu
training was mandatory. The current Yao, Luis Peligrini, trained
extensively in kungfu in his homeland Brazil. Kungfu is very popular
in Brazil, especially Hung Gar, Shaolin and Praying Mantis. Peligrini
studied under Sifu Benny Hu (Hu Xiaoshu) focusing on snake style. He
also trained in tiger style, tan tui, a little monkey style and a
little nanquan. "I learned a little bit of Olympic nanquan," admits
Peligrini in his heavy Brazilian accent. "I also competed a little bit
with this one, but I was terrible. The Olympic style was terrible - I
like traditional."
Cirque Du Soleil Auditioning for Cirque is an extraordinary process.
Peligrini brought 10 years of kungfu experience, plus a few years of
Astanga Yoga, modern dance and hip hop, to a cattle call specifically
looking at martial artists. It was a grueling test of skill, to be
followed by another test of patience. Peligrini remembers, "I knew
some people from Cirque and they said 'Oh, they?re coming and you
gotta do it - the audition.' I said 'how?' At that I time I was 6
months without training. So I called all my friends and said 'let's
train!' Then we went to a meeting with Cirque. We invite them to go to
the academy. So we trained the full day on Saturday to show them
something more. Sunday we went there - it wasn't the audition, they
just saw what we are able to do. Then give us a full morning for the
real audition."
The Cirque people were pleased with what they saw but they wanted to
see more. "We did the audition. We had a group of people in the
academy and we auditioned all together. We first showed everything we
knew: the combination fights, and all the weapons and all the forms.
(Then) they start to ask for some acrobatics. But for 3 hours, we did
only wushu." Still, a favorable response from Cirque did not guarantee
a role with the show. Peligrini had to endure a test of time. "You do
the audition, then you pass, then you wait. So I wait for 8 months,
then they invite me for Mystere, another show in Las Vegas. It didn't
happen - the guy (who had the role) didn't leave. I wait more - six
months. Then they called me to do the audition. At that time, they
were in Toronto. They wanted to do a test again because they didn't
know how I was. They asked on the telephone 'Are you fat? Are you
still training? Are you still in shape?' I said 'Yeah, I'm still in
shape.' They said 'So we want you come and do two weeks of test and if
you're not good, you go back to Brazil in two weeks. Otherwise you
train here because we start in two months.' So I had two months."
Once Peligrini secured the role of Yao, new trials lay in wait for
him. He was slated to replace the previous Yao, a Beijing Opera
professional. His foundation in traditional kungfu served him well, as
he quickly learned the classic Chinese routines of flying trident and
flag acrobatics. "The flying trident I start to learn here when I
arrive last year in July from (the previous) Yao, from Beijing opera.
I'm replacing him for eight months now. Some choreography I kept like
it was, some we changed. Opera to kungfu - similar but not the same -
so some movements for me are easier. I play a little bit of the flag
in Brazil, but I was one of the jumpers. I never really trained a lot
that. Here, the flag was huge. I took my time to learn. I made some
mistakes, of course. I'm doing the trident now for one month and a
half. I practiced for a long time." Peligrini rolls up his sleeve to
show the scabbed calluses from spinning his trident every night on his
inner arm. "Here, no hair! It's very good. I like it very much - a
very nice weapon, (like) rope dart. Now those are my favorites: flying
trident and rope dart. When I doing I feel like I'm playing. I can do
that for hours, just stay playing!"
Gaya - Sitting on Top of the Earth
As Yao, Luis Peligrini's perspective on kungfu is truly unique. He is
bringing kungfu to a brand new audience in a most innovative way, an
unexpected one for this young Brazilian. After eight months of touring
as Yao, he is as excited as ever about his worldwide impact promoting
Chinese martial arts. "Everything I use is kungfu. I love it! It's a
chance to show that martial arts is not only aggressive or only (for)
fight, but also has a very good aesthetic and form. That is martial
arts with dance. In all the movements we do in dance, you can see the
same movements. We just use a different intention. The people, when
they come talk to me, they say 'What dance do you do? You might do
some martial arts.' They?re not sure. They see more of the dance and
I?m really glad they see more dance."
The role of Yao is one that any martial artist might covet - to run
away with the world's greatest circus and be the star demonstrating
kungfu! But Peligrini never forgets to honor his teacher and our
venerated art. His advice to any aspiring martial artists who might
follow in his footsteps is one of dedication and reverence. "Just keep
training. Listen to your master. You're gonna find that you can learn
kungfu from your master for ten years, and when you stop training
you're gonna still be learning. Because what they teach, the movements
they offer, is so big. The field that we have is so big. If you keep
training every day you're gonna find something new in your old
movements. So you have to keep training - keep thinking (about) what
you are doing. The movements when training are giving energy, even the
old people. I think that?s why it's so important that the martial arts
are so old. If you have that energy everywhere, you can contact the
energy when you?re training, if you?re really open."
Being open is what keeps kungfu fresh. Being open to new ideas and
innovations will keep the beauty and majesty of kungfu thriving beyond
this millennium of the dragon, well into the next. To remain truly
loyal to the kungfu tradition requires that it be kept vital. And the
source of that vitality is creativity. Anything less would be
obsolete. The unique vision created by the artists of Dralion
invigorates our imagination with a fantastic realm of enchanting
possibilities. In our modern world, such inspiration is rare and
priceless. The show must go on.
-----------------------------------------------
"Peep Show: Zumanity"
From: Entertainment Design
-----------------------------------------------
Seductive and sensual, Zumanity brings another side of Cirque du
Soleil to the famed Vegas Strip. The company's third permanent
production in Las Vegas, Zumanity opened officially in September 2003
at New York-New York Hotel and Casino. Written and directed by Dominic
Champagne and René Richard Cyr, this show is for adults 18 and over
(it's not for your kids, or your parents, for that matter). With a 50-
member cast, or human zoo, Cirque's latest is a zesty look at love,
human sexuality, the nature of beauty, and acceptance of bodies in all
shapes and sizes.
Zumanity is nestled in a 1,295-seat theatre completely custom-rebuilt
to house the show. Auerbach Pollack Friedlander served as theatre
consultants, working with Pelton Marsh Kinsella acousticians, JR
Clancy for the stage machinery, and scenic designer Stéphane Roy to
create an intimate, cabaret-style venue. Everything was destroyed,
says Roy, referring to the previous theatre on the site. Not even the
ceiling remained.
This is not an ordinary theatre in any sense. The lobby undulates in
waves of red and gold, with a carpet pattern of rippling muscles, one
wall suggesting laced bodices (from svelte to zaftig), and another of
tufted red velvet with some of the buttons replaced by glowing
peepholes. When you peep, you see sensual images and hear a sexy
soundtrack via small American Technology Corporation HSS loudspeakers
that have just one degree of dispersion (listen carefully in the
restrooms as well).
In what Roy calls the Amsterdam window, like in a red-light
district, performers welcome guests seductively. A bathtub of popcorn
and a bed are tucked in dark corners. Chandeliers look like glowing
ovaries or perhaps breasts. These are provocative flashes in the
lobby. They prepare you for the language of the show, he says.
Inside, the theatre is like a living room, Roy adds. There is more
interaction with the actors and amongst the audience members. The main
thing is that you feel like you are in a womb. This is a custom-made
theatre for just this one show about sensuality. Not a theatre for any
other show.
An intimate space, not a single seat is further than 66' from the long
thrust stage that penetrates the audience. The carpet is based on a
painting of nudes, and the seating includes love seats for two and
solo cabaret stools as well as traditional theatre seats, all
upholstered in warm shades of red, gold, burgundy, and rust.
Everything makes a statement, says Roy, pointing out that the curves
of the balcony fronts, the colors in the room, the curving stairs, and
the shape of the proscenium are meant to be fallopian, rather than
phallic, emphasizing the power of women.
A large stage turntable has a central pod, or small round platform, in
the center that lowers 12' or raises to 8' above the stage. A main
trap is used for such items as a baby grand piano and a large fish
bowl where two exotic creatures perform a water ballet. You can pre-
set items on the traps when they are lowered, and a cover slides over
to fill in the stage, Roy points out.
JR Clancy built and installed the traps and turntable, and installed
the motorized spot lines for rigging that were built by Stage
Technologies. Additional acrobatic rigging was designed and
implemented by Cirque du Soleil's in-house crew, under the direction
of Jacque Paquin. Two smaller lifts, called the chick lifts, are
located stage right and stage left in front of the proscenium. The
musicians perch on a curved bridge that sits above the proscenium and
adds to the art nouveau look of the theatre. The bridge lowers to
bring the musicians closer to the audience during a few numbers, says
Roy.
WAVES OF PLEASURE
The principal scenic elements, The Waves, are two motorized pairs of
Lexan panels that move via a system of pins traveling in a track. The
Waves can rotate in both directions to create all kinds of
configurations, says Roy, who created one space that changes
throughout the evening. You can change the geography of the space,
from wide open to a narrow little corridor where the audience is the
voyeur looking into a window or through a facade.
To create a frosted, art nouveau quality of milk glass, the Lexan was
sand blasted and varnished. Light and projections look great on the
panels, but they still have a translucent quality so you can see the
artists behind them, says Roy. The patina can be removed if Roy
decides to create a window, or a peek into a shower.
A curtain 150' long × 44' high was made by taking old fashioned lace
and expanding the pattern into multiple panels. Roy notes, a
combination of contemporary automation and an old Italian Baroque
technique of counterweights is used to make the lace opening in
various ways, including moving like fingers pulling up a skirt or
opening like a flower. Behind the lace is a mirror made of 4' × 4'
panels of Lexan with 65% semi-translucent film. It can be a perfect
mirror, or you can use light to see through it and play at voyeurism,
notes Roy. Metallic laser projection material creates a smaller drop
hung at the center of the stage. This absorbs light beautifully,
says Roy. All the colors of the spectrum.
Natacha Merritt, photographer and author of the erotic website and
book Digital Diaries, created the projections on the waves (and in the
lobby peepholes). She did photo shoots during the rehearsals, and her
images are like a microscope zooming in on the performers. You might
see a nose, or an arm, or just a body as the background. It's
subliminal, says Roy. They are an artistic way to see the body,
sometimes in color or black and white, which can be more realistic
than color. Projectors are by Digital Projection.
LIBERATING LIGHTING
Lighting designer Luc Lafortune, who designed the lighting for such
Cirque du Soleil shows as Mystère, O, and La Nouba, added to the Paris
cabaret feel of the room by using 90 Mole Richardson Molerama fixtures
on curved catwalks (these found lighting instruments were recycled
from EFX! at the MGM Grand). Solotech in Montreal provided the
majority of the fixture inventory. Nol van Genuchten and Alexandre
Tougas were assistant LDs, Janene Steele, head of lighting, and Hubert
Tardif, moving lights programmer.
The notion is like an unpublished underground event, something you'd
hear about by word of mouth, says Lafortune. Someplace you can go
and live out your fantasies. It's not the kind of theatre where you
would hide the lighting fixtures. He also placed Strand Fresnels in
the wings, glowing softly, so as not to see the black velour masking
behind them.
Cirque du Soleil creates a total environment, so you are not working
from a script, says Lafortune. The final lighting choices were made
rather late in the game. It's a titillating show so you can't give it
away too soon. You have to tease, reveal shapes and contours but not
the entire body right away. The nature of the show gave Lafortune
almost carte blanche in terms of lighting styles. I had the freedom
to change from one act to another, moving from grand operatic lighting
to visibly flashing moving lights and strobes to trash it out he
notes. These genres might not normally go together in a book show.
Lafortune's rig includes almost 300 ETC Source Four ellipsoidals of
various sizes as well as 12 Source Four Zooms and 75 Source Four PARs,
12 Source Four PARnels, 50 Altman PAR64s, 24 James Thomas PAR46s, 12
James Thomas PAR36s, 38 Strand 2kW Fresnels, 12 Strand 5kW Fresnels,
one Arri 6kW Fresnel, L&E MR16 strip-lights, 12 Altman single cell far
cyc lights, eight Mole Richardson 5kW Skylights, and six Strand
Beamlights.
The automated fixtures include eight Clay Paky Stage Profile Plus SV
units and 12 Vari*Lite VL2000 wash units. Followspots and HMIs are by
Robert Juliat: four Ivanhoe 2,500W HMI followspots; plus five Juliat
D'Artagnan 2,500W HMI Profiles. Other gear includes eight Martin
Professional Atomic 3000 strobes, 12 Rosco Image Pros, four Lightning
Strikes units, and over 75 Wybron Coloram II scrollers.
The control system and network includes two Strand Lighting 550i
consoles (one as a backup or to make changes and not disturb the
show), a Strand 520 for special effects, and two Flying Pig Systems
Wholehog II for the moving lights. Ten Strand SLD dimmer racks are
located on the grid and in the basement. The Strand ShowNet systems
includes 60 Ethernet nodes. There are also four touchscreens, says
Michael Lay, Strand's project manager. These provide cue sheet data
from the console for the stage manager. The screens interface with the
510i show controller.
SEXY SOUND
Sound designer Jonathan Deans, veteran of numerous Cirque du Soleil
productions, notes, Zumanity is louder than their other shows. We
wanted to create a rave, a nightclub, and a disco, like you are
sitting in the experience. It moves from a cabaret sound to high-
energy, in-your-face with a lot of low end. The atmosphere is very
different from that of a Broadway musical.
Deans opted for Meyer Sound self-powered speakers (six CQ1 and two
CQ2) with four Turbosound 21" sub woofers for a lot of kick. They
push extra air into the room, he says. A dbx Sub-harmonic Synthesizer
is used to drop any signal an entire octave, and as Deans says, give
the bass sound an extra oomph. It creates a physical feeling without
deafening everyone.
A Variable Room Acoustics System (VRAS) from Level Control Systems
(LCS) makes the venue adjustable down to an acoustic piano. Since
there are so many sound levels in the show, and for certain numbers we
wanted the audience to hear themselves applaud and laugh, we couldn't
set a constant decay time, says Deans. VRAS offers the options of a
small, medium, and large hall sound. There are also a variety of 29
microphones placed around the room, primarily from Sennheiser and
Shure.
Sixty Nexo PS-8 loudspeakers (powered by QSC amplifiers) are placed
around the walls and on balcony fronts to provide surround sound and
delay. Additional PS-8 boxes add extra high-end for the rear of the
balcony, and 14 more are built into the edge of the stage.
The audio control system features the new LCS Cue-Console II with new
Cue-Station multi-platform software. The musicians wear Shure PSM700
in-ear monitors with belt packs. Processing equipment by TC
Electronics includes Fireworx, Vocalworx, an M2000S effects processor,
and an M4000 processor for streamlined reverb. There is also a backup
signal system by Sierra Automation, which allows control of the show
in real time in case of a glitch to the main system.
With ten shows a week, over the next ten years, there is bound to be
a glitch, a brown-out, or a flash flood, says Deans. The Sierra
Automation cross-switcher is totally transparent to the audience. A
Yamaha console then runs the show on a basic left/right mix. You go
from a 497-channel mix to a two-channel mix, but it saves the show.
Digital Clear-Com stations are linked via Cat5 cable and Ethernet
nodes. The Ethernet system also allowed the sound team (Peter Hylenski
was assistant sound designer) to work wireless throughout the venue
via laptops that could plug in virtually anywhere. And in keeping with
the theme of the show even some of the hand-held microphones are
decorated as whips or ponytails.
ANDROGYNOUS SENSUALITY
Provocative French fashion designer Thierry Mugler, who was originally
a dancer, made his Cirque du Soleil debut as costume designer for
Zumanity. His costumes are evocative, from sexy black dresses and
bodices for the cross-dressing mistress of seduction, Joey Arias, to
topless dancers, bondage gear, bejeweled jockstraps, fur, and
feathers. Even the ushers are in suggestive Mugler originals
(washboard abs on t-shirts for the men and bikini tops and bottoms on
dresses for the women). Stephano Canulli, Eleni Uranis, Francine
Desrosiers, and Guy Brassard worked as assistants to Mugler.
The costumes were all made at Cirque du Soleil's ateliers in
Montreal, explains Jack Ricks, head of wardrobe for Zumanity. We had
very detailed sketches and worked very closely with Thierry to
recreate his exact designs to fabric. In fact, they scoured the world
for the best possible materials, from silk and lace in Paris to gloves
in Portugal. There is a real sense of luxury to the show, says
Ricks. There is no full nudity but many of the women are topless.
One of the more flamboyant characters is Jacobo, described as an
androgynous spirit of sensuality. He is a cross between a man and a
woman, and wears everything from an enormous black silk cape to a
large stole of black and purple roses (made of velvet and nylon), and
a Greek-style wig of molded silicon. He is a character of temptation
who appears with a live snake and wears silver nipple covers, adds
Ricks.
Other artists wear prosthetic body parts, including brow pieces,
chins, ears, even colored contact lenses, to enhance their appearance.
A former Miss France, for instance, performs a bondage ballet on a
swing with black fabric encircled her wrists and ankles. She is a
gorgeous person whose form has been enhanced with corsets,
prosthetics, and flesh-colored fabrics Ricks notes. She looks nude
under the lights. With a wig of flowing red hair and a lace mask she
is a fantasy figure come to life.
Cuban-born dancer Alex Castro wears a white leather jacket lined in
fur, then embroidered and hand-painted with roses, the theme of his
performance number. He also wears break-away blue jeans and a jeweled
g-string. Other characters are bedecked in everything from seductive
layers of lingerie to two huge feathered headpieces that were made by
Chris Mark in New York City (in one of the first times Cirque du
Soleil has gone outside its own shops for specialty items).
There is great detail in all of the costumes, says Ricks. In
executing Thierry's costumes, we realized his dreams for the show.
The costumes add to the overall fantasy world created in Zumanity, a
new avenue of exploration for Cirque du Soleil.
-----------------------------------------------
"Cirque Update"
From: Inside Gymnastics
-----------------------------------------------
If a potential performer makes it through the difficult and selective
audition, they are invited to a general training program to prepare
them for one of Cirque?s 8 shows, or one of the new shows in
development. When training is complete, artists are once again
evaluated to determine if there is a fit with a current opening,
turning dreams into reality for some. Others are placed on stand-by
for a potential future opening, and some may not be a fit at all.
This article features updates on some of the performers we have
introduced you to over the last year.
Jason Biltz was a scholarship gymnast for Stanford University and
graduated in 2002. He went to the U.S. Championships that year and
missed the national team by two spots. He auditioned in December and
was invited to general training for the summer of 2003. He was
featured in the September/October issue of Inside Gymnastics.
Update: Jason is a prospect for the Bateau act that is in "O" the
resident water show in Las Vegas. The act utilizes skills similar to
those on p-bars. There are currently no openings in the show, however.
Jason Hardabura was the 1999 NCAA All-around Champion while competing
for the University of Nebraska. He was also a member of the Canadian
World team. He attended general training in the summer of 2003. Jason
was featured in our online photo galley of Cirque du Soleil.
Update: Jason is headed to Europe to join the touring production of
Saltimbanco and will be a member of the house troupe and perform on
Russian Swing.
* * *
Each issue of Inside Gymnastics magazine features a spotlight on an
artist or show developed by Canada?s Cirque du Soleil. Over the last
year, Inside Gymnastics has followed several hopefuls from auditions
to general training in Montreal.
AJ Lamb was a stand-out gymnast for the University of Nebraska and
concluded her career at the NCAA Championships in May. She attended
training in the summer of 2003 and was feature in an Inside Gymnastics
online interview.
Update: AJ will join the cast of Mystere, a resident show in Las Vegas
and will perform on teeterboard.
Jason Berrent was a member of the U.S. Power Tumbling team. He
attended training in the summer of 2003 and was featured in an Inside
Gymnastics online interview.
Update: Jason was pulled from general training early to join the cast
of Alegria, currently touring North America. Jason performs in Fast
Track and does house cues.
Kristy Powell was the U.S. National Co-champion in 1997. She attended
training in the summer of 2002 and trained fast track. Cirque decided
that her history of Achilles injuries would make it difficult to
perform the skills require in fast track's 10 shows a week, 50 weeks a
year. She was invited to training for the summer of 2003 to train
flying trapeze. Kristy was featured in an Inside Gymnastics online
interview.
Update: Kristy recently moved to Orlando and is training to join the
house troupe as a flyer for La Nouba, the resident show in Downtown
Disney.
Galina Tyryk was a member of the 2000 Ukrainian Olympic team and
joined cirque in the summer of 2003. She was featured in the Cirque du
Soleil online photo gallery.
Update: Galina is being considered for flying trapeze. There are
currently no openings available.
Bill Mulholland trained at the Olympic Training Center in Colorado
Springs and was a member of the University of Nebraska gymnastics
team. He impressed scouts at auditions in Las Vegas in February of
2003 and was featured in the May/June issue of Inside Gymnastics
magazine.
Update: Bill isconsidered a prospect for the new Cirque show at the
MGM Grand hotel in Las Vegas that will open in 2004.
=======================================================================
ITINÉRAIRE -- TOUR/SHOW INFORMATION
=======================================================================
Note that any information in brackets [] is UN-official information
and subject to change.
[Touring Shows]
Alegría:
* San Francisco, California -- Pacific Bell Park
Dates: Nov 6, 2003 to Dec 21, 2003 **EXTENDED**
* Miami, Florida -- Bicentennial Park (Downtown)
Dates: Jan 9, 2004 to Jan 25, 2004
[May extend to Feb 8, 2004]
* St. Petersburg, Florida -- Tropicana Field
Dates: Feb 19, 2004 to Mar 7, 2004
[May extend to March 14, 2004]
* Atlanta, Georgia -- Cumberland Galleria
Dates: Mar 25, 2004 to Apr 11, 2004
[May extend to Apr 18, 2004]
* New York City, New York -- Randall's Island Park
Dates: May 6, 2003 to June 6, 2004
* Philadelphia, Pennsylvania -- Avenue of the Arts
Dates: July 8, 2004 to July 25, 2004
* Toronto, Ontario -- Ontario Place
Dates: Aug 19, 2004 to Sep 12, 2004
[* Japan
Possible Dates: Oct, 2004 to Nov 2005]
Dralion:
* Mexico City, Mexico -- Gran Carpa Sante Fe
Dates: Oct 2, 2003 - Dec 14, 2003 **EXTENDED**
* London, United Kingdom -- Royal Albert Hall
Dates: Jan 9, 2004 to Feb 8, 2004
* Amsterdam, Netherlands -- Next to Amsterdam Arena (P2)
Dates: Feb 27, 2004 to May 2, 2004
* Vienna, Austria -- TBA **UPDATED**
Dates: Jun 3, 2004 to Jul 11, 2004
* Antwerp, Belgium -- TBA **UPDATED**
Dates: Aug 12, 2004, to Sep 19, 2004
Quidam:
* Tokyo, Japan
Dates: Dec 24, 2004 to Apr 4, 2004 **EXTENDED**
* Vancouver, BC, Canada -- Concord Pacific Place
Dates: May 6, 2004 to May 30, 2004
[May extend to June 13, 2004]
* Calgary, Alberta, Canada -- Currie Barracks
Dates: June 24, 2004 to July 18, 2004
[May extend to August 1, 2004]
Saltimbanco:
* Valencia, Spain -- Valencia Port
Dates: Nov 28, 2003 to Dec 21, 2003
[May extend to Jan 04, 2004]
* Seville, Spain -- Recinto Ferial **NEW!**
Dates: Jan 16, 2004 to Feb 6, 2004
* Lyon, France -- Clos Layat
Dates: Mar 5, 2004 to Mar 18, 2004 **UPDATED**
* Milan, Italy -- Area Spettacoli di Milano
Dates: Apr 29, 2004 to May 16, 2004 **UPDATED**
* Marseille, France -- TBA **NEW!!**
* Basel, Switzerland -- TBA
* Rome, Italy -- TBA
* Lille, France -- TBA **NEW!!**
Varekai:
* Pomona, California -- Fairplex
Dates: Dec 4, 2003 to Dec 28, 2003
* Orange County, California -- Orange Co Fair Grounds
Dates: Jan 16, 2004 to Feb 8, 2004
[May extend to March 7, 2004]
* San Diego, California -- Qualcomm Stadium
Dates: Mar 18, 2004 to Apr 4, 2004
[May extend to Apr 18, 2004]
* Phoenix, Arizona -- Westworld of Scottsdale
Dates: April 29, 2004 to May 16, 2004
[May Extend to May 23, 2004]
* Denver, Colorado -- Pepsi Center
Dates: June 3, 2004 to June 27, 2004
[May extend to July 11, 2004]
* Boston, Massachusetts -- Suffolk Downs
[Possible Dates: July 28, 2004 to Sep 5, 2004]
* Washington, DC -- TBA
[Possible Dates: Sep 16, 2004 to Oct 24, 2004 /
Tickets may go on sale Mid Mar, 2004]
* Dallas, Texas -- Fair Park
Dates: Nov 10, 2004 to Dec 5, 2004
[May Extend to Dec 19, 2004]
[Resident Shows]
La Nouba:
* Two shows Nightly - 6:00pm and 9:00pm
* Performs: Tuesday through Saturday, Dark Sunday/Monday
* Location: Walt Disney World Resort, Orlando (USA)
* 2003 Dark Dates:
- December 7th through 15th
* 2004 Dark Dates:
- February 1st through 4th
- March 14th through 17th
- May 2nd through 5th
- June 20th through July 5th
- August 22nd through 25th
- October 17th through 20th
- December 5th through 13th
Mystère:
* Two shows Nightly - 7:30pm and 10:30pm
* Performs: Friday through Tuesday, Dark Wednesday/Thursday
* Location: Treasure Island, Las Vegas (USA)
* 2003 Dark Dates:
- December 3rd through 18th
"O":
* Two shows Nightly - 7:30pm and 10:30pm
* Performs: Wednesday through Sunday, Dark Monday/Tuesday
* Location: Bellagio, Las Vegas (USA)
* 2003 Dark Dates:
- December 1st through 16th
Zumanity:
* Two Shows Nightly - 7:30pm and 10:30pm
* Performs: Tuesday through Saturday, Dark: Sunday/Monday
* Location: New York-New York, Las Vegas (USA)
* 2003 Dark Dates:
Not Available
=======================================================================
DIDYAKNOW? -- FACTS ABOUT CIRQUE
=======================================================================
-- Did you know that one of the members of the creative team on the
new Cirque MGM 2004 show is Michael Curry out of Portland, Oregon?
Among other things, he has designed puppets for "The Lion King" on
Broadway, as well as a number of Disney parades and shows (including
"Tapestry of Nations" parade for the Millennium Celebration at EPCOT
and Mickey's Jammin' Jungle Parade at Disney's Animal Kingdom Park in
Orlando). You can see some of his work at www.michaelcurreydesign.com.
-- Did you know that 80-percent of the fabric used in Cirque du Soleil
costumes is custom-dyed? Silk is the most-used fabric because it wears
and dies well.
-- Did you know that the ring-like apparatus used in Dralion to allow
performers to fly around stage and to allow the singer to ascend to
the stars is called "The Sun"? The Sun is one of three pieces used
during the show. The other two are used as a catwalk and to encompass
an enormous lantern.
-- Did you know that the March 5, 2004 showing of Saltimbanco in Lyon,
France would mark Cirque du Soleil's first return to French soil in 14
years? Cirque du Soleil last visited France in 1990 with Le Cirque
Reinvente, which was performed in Paris from October 2nd through
December 30th.
=======================================================================
TÉLÉMAGIK:
"When the Wind Blows the Circus Will Rock: CDS Solstrom"
By: Wayne Leung - Ottawa, Ontario (Canada)
=======================================================================
Following hard on the heels of last season's groundbreaking
documentary series, Cirque du Soleil once again aims to prove its
prowess in the realm of television. After the ratings success,
critical acclaim and Emmy and Gemini awards garnered by "Fire Within"
it's no surprise the company seeks to repeat its success this year
with a new 13-part variety series entitled "Solstrom".
Solstrom (the title means solar wind), is described as a hybrid form
of entertainment which draws inspiration from film, situation comedy,
burlesque theatre, circus, and of course the live shows of Cirque du
Soleil. In the concept of the show, the solar wind is a magical
energy force that descends upon unsuspecting characters and turns
ordinary life into an extraordinary fantasy world changing the mundane
into the marvelous.
The series is produced by Conte 11 (a subsidiary of Cirque du Soleil
Images). Marie Côté, Vincent Gagné and Martin Bolduc serve as the
show's producers. It is currently showing every Sunday at 8:00PM
Eastern on the CBC (Canadian Broadcasting Corporation). Each episode
is approximately 44 minutes in length without commercials.
The show premiered Sunday, November 30, 2003 on the CBC in Canada. I
looked forward to the pilot episode with anticipation, guardedly
optimistic that I would be impressed. Guarded because I've been
disappointed by some of the company's more "popular" projects intended
for a wide audience.
However, I also realize that to enjoy Cirque's media projects one must
understand that they are entities unto their own, targeted to
completely different audiences than the theatrical shows. To obtain a
sense of the target "family" audience of Solstrom, consider its
strategic place within CBC's programming line-up, on Sunday nights
immediately following The Wonderful World of Disney. One can infer
that the show is therefore targeted to young children and their
parents. As much as Zumanity is a show for adults Solstrom is really
for the kids. To enjoy the series it is perhaps best to shed any pre-
conceived notions of Cirque du Soleil, since Solstrom is directed to a
different audience and in no way resembles Cirque's live shows.
Admittedly at first this was a let down. Upon first viewing I saw a
show with low production values, no sense of cohesive theme, lacking
in artistry and feeling very rough by Cirque standards. The set and
costumes are minimal and uninspired, the music is recycled or canned
(despite the presence of the "orchestra" in the first episode most of
the accompanying music is pre-recorded), the Cirque performers are
underused and the characters underdeveloped. I especially dislike the
fact that the acts are put in the context of a contrived story
sacrificing much of the interpretive elements, artistry and mystique
inherent in the live shows. Solstrom is not a bad show; it just
doesn't live up to the level of artistry that we've come to expect
from Cirque du Soleil.
Solstrom was filmed in a studio in Montreal on a set that is very
obviously a television studio. The style of the show is a quasi-live
production. The series does not entirely go for the realism of
television nor does it belong entirely to the world of the stage, it
sits somewhere between in a weird limbo. Consequently the energy
level of the show is uneven and the viewer is left unsure of what
context the show is supposed to be taken in. I would have liked to
see the tapings done in front of a live studio audience. I think it
would have greatly improved the performance dynamic, energy level and
pacing and I surely would have attended!
A quick glance at the credits may hold part of the answer as to why
the series is sub-par; the show is produced by a team virtually
unknown to Cirque fans. The first episode is directed by newcomer
Pierre Séguin. None of Cirque's live show creators are involved in
Solstrom. The resultant overall feel of the show is much less
professional than we've come to expect from Cirque du Soleil.
Solstrom comes off as more of a variety show. It seems as if the
producers raided the files of Cirque's casting department and phoned
all the performers on record whose acts did not fit in the context of
any of the live shows. Solstrom seems to be a showcase for the
mismatches. Consequently, there is inconsistency in the calibre of
the individual acts as well. While some are amazing, others kind of
fall flat. The non-Cirque acts are never as polished as the ones
borrowed from the live shows and they are not given any special
treatment with regards to costume, music or choreography. The end
result is a series that aims to be whimsical but falls short and at
times lands in the area of downright goofy. Nonetheless, the show is
not without its charms. Taken for what it is the show is a fun and
carefree collection of some extraordinary circus talent and the kids
will love it.
The following is a synopsis of the first episode.
Episode 1: "Rockin' Wind"
-------------------------
Fans of John Gilkey, one of Cirque's most prolific artists as a
veteran of Quidam, Dralion and Varekai, will be delighted to see John
in his newest incarnation; a mad scientist character named Fogus
Punch. Fogus looks like a cross between La Vigie in Varekai and
Beakman from Beakman's World (for those who remember the zany kid's
science show). Fogus is our guide throughout the series, an
astronomer who serendipitously discovers life on the sun. A magical
solar life force has been beamed to Earth and personifies itself as a
series of recognizable Cirque du Soleil characters. A little bit
irritating though is the inane narration that permeates the episode.
Fogus' voice-over (which is not done by John) describes the happenings
in a banal, everyday manner, not poetically or inventively at all.
The narration adds nothing to the show and in fact detracts from it.
While the images speak vividly in Cirque's live shows; the narration
in Solstrom seems an unfit substitute for well thought-out images and
staging.
The first episode of Solstrom, entitled "Rockin' Wind," features the
Baron character from Saltimbanco (originally created by renowned mime
René Bazinet, in Solstrom the character is played by Martin Boisvert).
The Baron descends upon an orchestra rehearsal where nothing is going
well. A look at the conductor and first violin gives a clue as to
why; they are played by Dralion clowns Gonzalo Munoz Ferrer and Colin
Wesley Gee respectively. Unfortunately, their antics are no less
tiresome here than in Dralion.
Gonzalo plays Maestro Von Pom Pom Pom (the "Poms" are set to the first
four notes of Beethoven's Fifth Symphony). He is the cantankerous and
temperamental tyrant of the orchestra. While desperately trying to
get his musicians in order a latecomer stumbles in chaotically and
disrupts the proceedings. The Maestro begins to chide him when the
Baron blows a puff of the magical Solstrom at the latecomer. The
latecomer is actually extreme contortionist and dislocation artist
Daniel Browning Smith. Smith contorts into unbelievable shapes. He
squeezes his flexible body through a tennis racket and inverts himself
in many impossible poses, often by dislocating his joints. The
performance is jaw dropping though slightly grotesque. For his finale
Smith contorts into a small ball and fits himself inside a 20" x 20" x
24" box where he stays for the remainder of the show, sometimes
popping up to watch the proceedings.
After the initial commotion the first violin (Colin Gee) is distracted
by an attractive female orchestra member. She approaches and kisses
him passionately on the lips. The Baron's puff of Solstrom transforms
her into a wild temptress dressed in red. The first of the acts
adapted from live Cirque du Soleil shows featured in the pilot episode
is Genviève Bessette's stunning solo aerial hoop number from Dralion.
Originally part of a trio of aerial hoop performers featured in
Quidam, Genviève refined a solo version of the act for incorporation
into Dralion as an act in rotation. When I saw this act last spring
(performed by another Quidam alumna, Marie-Eve Bisson) it was a
shining moment in an otherwise lackluster performance. The
breathtaking choreography, set to the Spanish flavoured song "Anima",
is full of passion and emotion, perfectly fitting the fire element
that it represents in Dralion. Although when taken in Solstrom's
context the emotional gravity is subdued, it is nonetheless a treat to
finally see a filmed version of this magnificent act.
No sooner has the orchestra been successfully called to order than
someones watch chimes and the musicians break for lunch. The
guitarist sits at his music stand and falls asleep. Fogus does a
"brain scan" and monitors his dream. The guitarist dreams of playing
rock chords on an electric guitar. He falls backward only to spring
right back up. The guitarist proceeds to execute flips on a
trampoline all the while playing his guitar. The performer is
actually Domenic Dagenais, a former Canadian trampoline champion.
Next, to the horror of the first violin, a spotlight burns out and he
realizes the Maestro will be furious unless someone fixes it. He
stops a stagehand but a puff of the solar wind transforms the
stagehand into a balance artist. Vladimir Dubovsky uses an array of
boards and aluminum pipes stacked precariously like a deck of cards in
a daring balancing act. Vladimir executes this act with a more than a
hint of Chaplin. His presentation and music are reminiscent of the
Vaudeville stage.
Before the Maestro can regain order he is stricken by a beautiful
prima donna who has entered the hall with her accompanist. She
prepares to sing but a puff of the Solstrom and we find her hanging in
the air supported by white silks. Our diva is Béo Da Silva and with a
sultry voice she belts out a sassy jazz song entitled "New Attitude"
written by former La Nouba singer Dessy Di Lauro. While singing live
she performs some beautiful aerial silk work. This unique combination
number has a slightly surreal Moulin Rouge feel and is one of the most
enjoyable of the episode.
When the dust settles there is still the matter of the burnt out
spotlight to attend to. A group of stagehands climb up a set of
scaffolds but the Baron works his magic and they become daredevil high
wire performers. The Navas Family (three brothers) scamper and dance
across a high wire before performing death-defying leaps and pyramids
all while remaining perfectly balanced on the thin wire.
Then we observe a metronome slowly ticking back and forth. The Baron
works his magic and the pendulum transforms into a trapeze artist.
The orchestra watches as Anja Wyttenbach perched on a Washington
trapeze, carefully balanced on her head while going through a series
of poses. This act, taken from "O" is performed to a piece of music
credited as "Debbie" but more commonly known as the Journey of Man
theme. The trapeze number is cut short. In "O" there is a static as
well as swinging portion but only the static is shown here.
Disappointing given the amount of time allotted to each episode, there
is no need to truncate such a beautiful and well-crafted act.
As if another interruption was needed, the rehearsal is invaded by
wacky Michel Lauzière who aims to play music of his own on bicycle
horns of different pitch strapped all over his body. He executes a
wild choreography to play the horns and serenades the orchestra with
his rendition of the Danube Waltz, The Four Seasons and other
classical selections.
Finally the Maestro gives in and the rehearsal descends into chaos as
the musicians, stagehands and house staff transform. If there were to
be one act I considered to be Cirque du Soleil's signature it would be
Banquine from Quidam. This act has been proudly showcased by the
company in a variety of different competitions, media projects and
special events including Journey of Man and the 2002 Oscar
performance. The first episode of Solstrom closes with the Banquine
troupe performing a number called "Tribute to Rock 'n Roll" Though
much of the choreography is the same as the routine from Quidam, the
troupe appears sans make-up and wearing different costumes; black
pants and coloured t-shirts for the guys, simple black dresses for the
ladies. This elite acrobatic group has only improved with age and now
performs some skills that are far more spectacular than the ones we've
previously seen on film. Among the new tricks is a super jump where
four performers are launched simultaneously, cross paths in mid-air
barely avoiding collision and are caught again by the able porters.
Though stripped of the dramatic intensity of the live show the
Banquine act still shines as an amazing acrobatic display.
Overall I was slightly disappointed with the initial offering of
Solstrom. I would have preferred to see Cirque invest the time,
effort and money to produce a television series every bit as evocative
as their stage shows. Though there is such a thing as being over-
produced, the generally low production values of Solstrom make it feel
almost amateurish. I don't feel it is at all representative of what
Cirque du Soleil is truly capable of and I expected more. Having said
that though, the show is not completely unenjoyable. It certainly has
its moments and I'm willing to give the series time to develop and hit
its stride in future episodes. Did I find the first episode
entertaining? Absolutely! Despite its shortcomings the show is
energetic (in a random, chaotic sort of way) and infused with a light-
hearted sense of fun. Was I engaged emotionally and challenged
intellectually to explore deeper themes and meaning behind the show?
Well, not really. This is not thinking-man's theatre, it is in
essence a kid's TV show but a good one at that. Solstrom is a trifle
in Cirque du Soleil's mighty repertoire but worth a look if only for
the few high-calibre acts featured in each episode.
=======================================================================
SPECIAL ENGAGEMENT:
"Cirque du-Scrimination? -- Update on the Cusick Case"
By: Ricky Russo - Orlando, Florida (USA)
=======================================================================
It's a catchy title, and perhaps a well deserved pun, but
unfortunately it describes a possible action by Cirque du Soleil
against Matthew Cusick, a 32-year old gymnast from Silver Spring,
Maryland. By now, many of our readers have heard the name Cusick and
why his name is in the news -- Cirque du Soleil has been accused (and
formally served thereof) of discriminatory practices in the firing of
Mr. Cusick because, as he has stated, of hishis HIV-positive status.
Whether the accusations are true or false is not something we at
Fascination! currently know. But here is what we do know, or rather,
what we think we know regarding the case:
In July, 2002 Mr. Cusick was invited by Cirque du Soleil for a general
training program, and he trained with Cirque for a period of a few
months at Cirque's headquarters in Montreal. Toward the end of his
training session, he was offered a 2-month contract to perform both as
a catcher in the High-Bar number and in the Chinese Poles act in
Mystère at Treasure Island, Las Vegas. In April 2003, just a few days
before he was to begin performing with the show, Mr. Cusick was
dismissed on the grounds that he could prove hazardous to his
colleagues, the audience, and coaches if he had an accident. Three
months later, on July 15, 2003, a press release by Lambda Legal, an
organization formed to advancinge and protecting the civil rights of
people with HIV and AIDS, was made public stating that Cirque du
Soleil had descriminated against Mr. Cusick by firing him due to his
HIV-positive status.
We reprinted the press release verbatim in our August 2003 issue (#24)
and at the time, Cirque du Soleil remained eerily silent. Many
questions and rumors cropped up and the fan community was turned
upside-down because of the accusations -- did Mr. Cusick bleed on a
performer/coach during training, which lead to his dismisal? Was he
offered (and then turned down) another job offer by the Cirque? Did
Cirque really know he was HIV positive? Why was he doing this?
Since then, a protest of Cirque du Soleil in San Francisco on November
20th (before a sold-out performance of "Alegría") has lifted the vail
of secrecy and we're finally beginning to hear more details about this
case. But there are still more questions than answers. Here, you can
read for yourself the full text of Cirque du Soleil's response to
Lamba Legal's actions:
Cirque du Soleil is dedicated to the creation, production and
performance of artistic works, and relies greatly upon the
skills and expertise of our artists. At the same time, we are
committed to safeguarding the well-being of each of our
employees.
Several months ago, we made a decision to terminate a 2-month
employment contract with an HIV-positive acrobat who was to
perform an aerial act. Our extensive experience with high-level
acrobatics demonstrated that the risk of injury attendant to an
aerial flying act is very real. With this very important
consideration in mind, we believed the risk of exposing fellow
artists, technicians, and/or spectators to HIV as a consequence
of injurious physical contact was too great. Our employment
decision was made solely for safety reasons, which is a
paramount concern for us.
Since that decision, however, the acrobat and his attorneys have
chosen to publicize this highly sensitive and complex situation
through various media outlets. The individual also filed a
Charge with the U.S. Equal Employment Opportunity Commission. We
have responded to the Charge, and we have been fully cooperative
with the investigation presently being conducted by the EEOC.
However, the individual and his legal representatives are
apparently not content to allow that investigative process to
run its course, as evidenced by their continued attempt to focus
media attention on this matter. In addition, they have made very
clear their position that they are completely unwilling to
attempt to resolve this matter amicably, despite our previous
efforts to do so. Contrary to the allegations, Cirque du Soleil
has not discriminated against this particular acrobat. Our
decision was premised upon our concern for the safety and well-
being of our artists, employees and patrons. That is always our
foremost priority. In that spirit, at all times, we must assess
any and all risks that could compromise someone's safety.
This has been a very difficult decision for Cirque du Soleil,
because we support many HIV-related educational programs and
fundraising efforts, and have contributed extensively to these
causes for many years. We are also very sensitive to respecting
individual rights and liberties.
Over the years, we have been recognized worldwide as a
progressive and non-discriminatory employer, and still are
today. We do not discriminate against individuals on the basis
of disability or any other protected characteristic. In fact, we
employ a number of performers and non-performers alike with
physical limitations and conditions.
Sincerely,
Renée-Claude Ménard
"As for what happened behind the scenes to set off the current
situation," writes Pat Donnelly, of the Gazette in Montreal, who
interviewed Cirque du Soleil communications director Renée-Claude
Ménard on the subject, is "Ménard's complicated explanation [laying]
the blame on Canada's Privacy Act. She contends the legislation
prevented the Cirque's one hand - the training department, which knew
Cusick was HIV-positive - from telling the other hand, the casting
department, what they were doing."
In effect, Ms. Ménard is acknowledging that Mr. Cusick did tell the
training department he was HIV-positive. But the casting department
was never told, and thus placed Mr. Cusick in a potential hazardous
role, according to Cirque. We understand that the training department
had no qualms about Mr. Cusick's HIV positive status, having had
medical doctors examine him and state he was perfectly healthy. We
also understand that Cusick was offered an alternative to performing
the dangerous High-Bar and Chinese Poles acts by becoming a coach for
the Cirque. But here's where the confusion lies: Cirque said they
offered and he refused, which led to his dismissal, and he says they
never offered in the first place.
This is an ongoing escalating situation that doesn't appear to be
ending anytime soon. Mr. Cusick filed a charge with the U.S. Equal
Employment Opportunity Comission (www.EEOC.gov), which was established
by Title VII of the Civil Rights Act of 1964. This Title allows the
EEOC to oversee and enforce many U.S. Government statues regarding
Americans in the workplace, such as: prohibiting employment
discrimination based on race, color, religion, sex or national origin
and prohibiting discrimination based on age, gender, and disibility
amongst others.
While Cirque du Soleil is a Canadian company, their efforts in the
United States make them succeptable to US Law. But this isn't Cirque's
only legal issue right now. Lambda Legal delivered a petition to
Cirque with signatures and notes from people in all 50 United States
on World AIDS Day, Monday, December 1st - the day before Cirque must
respond to an investigation by the San Francisco Human Rights
Comission. This investigation is important because if they find Cirque
did discriminate, the comission could levy fines, terminate Cirque's
contract and bar the company from coming back to San Francisco, since
Cirque is leasing public property for "Alegria".
As we go to press, more protests possibly will have taken place, and
hopefully Cirque will have responded to the San Francisco Human Rights
Commission to calm the fears of fans. While only 15 protestors (50
according to the San Francisco Gazette) were reported to have
demonstrated at Alegría on the 20th of November, those numbers are
sure to climb as this legal case continues to build.
Cirque du Soleil has assured the public that it is taking the
litigation quite seriously and they are currently working to remedy
the unfortunate situation. We at Fascination! do not currently offer
an opinion one way or the other regarding this case, as we are
determined to bring you all the facts of the case as un-biased as we
can. You can learn more about the case from Lambda Legal and various
news outlets that have picked up on the story by viewing the links
below:
1) http://www.foxnews.com/story/0,2933,103999,00.html
2) http://www.canada.com/montreal/montrealgazette/story.asp?
id=69ECEE96-1878-42DC-AB41-6D440309D831
3) http://www.lambdalegal.org/cgi-bin/iowa/cases/record?record=185
4) http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/
2003/11/20/BAGSE36DTE1.DTL
5) http://www.kron4.com/Global/story.asp?S=1534648
6) http://www.hollywoodreporter.com/thr/brief_display.jsp?
vnu_content_id=2034799
7) http://www.sfgate.com/cgi-bin/article.cgi?file=/news/archive/
2003/11/20/state1701EST0122.DTL
8) http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/
2003/11/20/BAGSE36DTE1.DTL
=======================================================================
CIRQUE MUSIQUE:
"Cirque Similarities du Bands"
By: Paul Roberts - Hamilton, Ohio (USA)
=======================================================================
On November Twenty-seventh I celebrated the seventh anniversary of a
life-changing event: my first experience of Cirque du Soleil with
Mystère. Even though I had heard the soundtrack prior to seeing the
show, the music subliminally controlled my emotions as intended. Two
years later I again saw Mystère, this time paying closer attention to
the musicians than to the performers. I truly absorbed the incredible
musical arrangements and my obsession with Cirque's music was born.
In 2000 I began a quest to own all the CDs and videos and to see all
the shows. After seeing Mystère for a third time I saw "O", then
Dralion, La Nouba, Quidam, Alegrìa, and finally Varekai. My quest
continues as I must still see Saltimbanco, Zumanity, and the new show
coming to the MGM Grand.
With the various shows (live and on video), I noticed similarities and
differences in the live bands. Nearly every band has at least two
keyboardists and two singers. Some have a guitarist, a bassist, and
almost always multiple percussionists. There is always a bandleader,
though I prefer calling them a conductor. Some bands are easily
visible and some are nearly invisible.
The Saltimbanco band consists of two female singers, keyboard player,
guitar/keyboard/ percussionist, bass/keyboardist (conductor), a
saxophone/keyboardist, and two drummer/ percussionists. With this
scaled-down band, several members are multi-instrumentalists and also
provide backing vocals. Their children-show-like costumes match their
whimsy performance of dancing around with the high energy music. They
are visibly located center-stage under the colorful light-filled
canopy.
The Mystère band consists of two female singers, two keyboardists,
guitarist, bass/Stick player (conductor), woodwind player, violinist,
and two drummer/percussionists. Also included are about twenty Taïko
drummers consisting of show performers. The band's rainbow-colored
costumes match the multi-layered dynamics of the soundtrack. The band
is divided between two balconies overseeing the stage. The left
balcony includes the percussionists and the singers, the right
includes the rest of the band. Both balconies are in clear view.
The Alegrìa band consists of two female singers, two keyboardists (one
is the conductor and one mainly plays the accordion), bassist
(assistant conductor), saxophone player, and two drummer/
percussionists. There used to be a violinist, which I feel should
still be included because of the prevalent use of the instrument in
the studio soundtrack. The shimmering white costumes also include
ski-slope noses (a la Richard Nixon and Bob Hope), high-water
trousers, and fountain-top wigs. They look pretty silly but play very
seriously. Similar to Saltimbanco, they are visibly located center
stage under an arched canopy.
The Quidam band consists of a young female singer, male singer,
keyboardist (conductor), guitarist, sax/keyboardist, cellist,
violinist, and two drums/percussionists. The band's new cobalt-blue
zoot suits seem to fit in better with the show's overall color scheme
than the original gold vested costumes. They're not as visible as
earlier shows with their locations of stage right and left towards the
rear of the set.
The large "O" band consists of a female singer/flutist, male
singer/kora player, keyboardist (conductor), Chinese violinist (also
known as an Erhu), sax/keyboardist, cello/acoustic guitarist,
bass/keyboardist, woodwind/bagpipes player, and two
drums/percussionists. They are dressed in mostly white costumes to
coincide with the wedding theme throughout the show. The musicians
are located in glassed-in booths above each side of the stage. The
glass is necessary to keep stage pool moisture from seeping into the
instruments that could cause tuning problems or ultimately cause
warping, especially to the stringed instruments. The booths are
sometimes dark making visibility difficult.
The La Nouba band consists of a female singer, (contra-alto) male
singer, trumpet player/ keyboardist (conductor), another keyboardist,
guitarist, sax/keyboardist, bassist, and one drummer/percussionist.
Their all-white costumes are accentuated with white turbans and dark
eyeliner. The band is located high above each side of the stage and
are not very visible. About this time, Cirque started a pattern of
hiding the musicians.
The Dralion band consists of a female singer, (contra-alto) male
singer, two keyboardists (one is the conductor), guitarist, woodwind
player, bass/Stick player, violinist/cellist, and two
drummer/percussionists. They are donned in maroon-colored silk and
polyester costumes and are located in shrunken pits near the rear of
the stage. Once again they are sometimes hard to see.
The Varekai band consists of a female singer, male singer, two
keyboardists (one is the conductor), woodwind and other assorted
blown-instrument player, bassist, violinist, and two drummer/
percussionists. Their attractive lavender costumes basically can only
be seen during the opening procession, as during the show the band is
pretty much hidden behind the forest. At certain times, during solos
or featured passages, a musician appears in the spotlight in an
opening located on the right side of the stage.
The vast Zumanity band consists of a female singer (there used to be
two, which will probably occur again if not already), a male singer
(well he's a crossdresser), two keyboardists (one is the conductor and
one mainly plays the piano), guitarist, woodwind player, bassist,
violinist, trombone player, trumpet/flügelhorn player, and one
drummer/percussionist. Since I have not seen Zumanity, I'm not sure
of the musicians' costumes, but am aware that they are located on a
platform above the stage that moves.
The conductor for each band plays an important role, as they are
responsible for watching the performers and making sure all cues are
met on and in time. If there's a mistake or an acrobatic re-try or a
technical mishap, the conductor gives instructions through headsets or
ear plugs worn by each musician.
I once saw a La Nouba show where a trapeze bar swung too high and got
stuck in the scaffolding. A crew member had to climb out on the
scaffold to release the bar while the band played an extended version
of the accompanying song, "Queens." During the ten minute technical
glitch, the musicians improvised on solos that were probably
unrehearsed. I think I might have been the only person in the theatre
that enjoyed the delay.
If you are lucky enough to own or have heard the Alegrìa Live in
Fairfax CDs, you can hear the conductor barking out timing
instructions during the soft passages. There are several countdowns
in French throughout the recording.
With similarities and differences in the live bands one thing remains
constant, expertise and perfection. Out of the twenty-six Cirque du
Soleil shows I have witnessed, I have yet to hear a sour note or a
missed beat or a vocal hiccup escape from the musicians or singers.
=======================================================================
THE CIRQUE CONNECTION:
"Two Thumbs (and 7 fingers) way up! A Review of Les 7
Doigts de la Main"
By: Wayne Leung - Ottawa, Ontario (Canada)
=======================================================================
What happens when a group of Cirque du Soleil alumni decide to go it
alone and spin off their own brand of theatrical circus show? The
result, Les 7 Doigts de la Main (The Seven Fingers of the Hand;
derived from a French expression about working in unison with
dexterity and coordination) is a masterpiece of theatre, acrobatics,
dance, performance art, multimedia and comedy as wildly entertaining
as anything Cirque du Soleil has put out but on a much more intimate
and independent scale. This show is never derivative, hokey or
childish like some Cirque copycats. Instead, 7 Doigts is artfully
inventive, original, hip, contemporary and sexy. The amazingly
multi-talented performers are vibrant, playful and energetic; they
infuse the show with a great sense of fun.
I was fortunate to have the opportunity to catch the show this past
September while it was in Montreal playing at a venue called Station
C; an old building located in the heart of Montreal's Gay Village.
Station C has a unique history; once a post office depot, it was
converted into an eclectic bohemian den, art gallery and performance
space. Its sombre corridors are adorned with the wares of numerous
local artisans. The brick showroom has a gritty urban feel;
clotheslines draped with sheets served as curtains, bleachers with
folding chairs served as seating with a capacity of about 600 or so.
The auditorium really has no "stage," the performance area was just
set up at the front of the room. The mise-en-scene made for a very
intimate show experience. Instead of the performance "breaking the
fourth wall" the audience is actually seated within it.
When the showroom opened for the performance, the ushers lead the
waiting crowd of about 400 on an interesting expedition through a
narrow corridor that ran along the side of the make-shift
auditorium, around to the back of the building, past the bathrooms
and stopped at an area behind the stage. "Hmm, where are they
leading us?" I wondered.
After our tickets were taken we were lead one by one through a tiny,
Alice in Wonderland rabbit hole. Emerging on the other side I found
that I had walked out of an open refrigerator and now found myself
smack in the middle of an industrial loft apartment (the show's
set). The inhabitants of the loft, dressed in undergarments,
welcomed me and the rest of the guests warmly, and told us to make
ourselves at home.
The seven inhabitants are actually the performers/writers/directors/
choreographers who collaborated to create the show; they are the
"doigts" referred to in the show's title. They are fairly well
known in Cirque du Soleil circles:
Shana Carroll, a beautiful blonde San Francisco native; veteran of
the Pickle Family Circus and former Solo Trapeze artist in
Saltimbanco.
The solidly built Frenchman Sébastien Soldevilla is an accomplished
sports acrobat who competed with the French National team and
performed as a character, dancer, acrobat and solo-diabolist with
Saltimbanco.
Samuel Tetreault has performed in Cirque Eloize's Orchestra show,
the Pomp Duck and Circumstance cabaret, and as a solo hand balancer
in Alegría. However, he is perhaps most recognizable from Cirque's
documentary series Fire Within as Varekai trapezist Stella Umeh's
(ex) boyfriend.
The hyperkinetic and child-like Patrick Leonard, a former Canadian
roller figureskating champion, performed in the San Francisco
cabaret Teatro Zinzanni and with Cirque du Soleil in the German
cabaret Pomp, Duck and Circumstance.
Fiery redhead Gypsy Snyder of San Francisco also performed with the
Pickle Family Circus, Teatro Zinzanni, Pomp Duck and Circumstance as
well as Saltimbanco. She has also directed shows for the San
Francisco Circus and is a regular teacher at the San Francisco
Circus Center's Clown Conservatory.
Faon Shane is a performer of many acrobatic disciplines; hand-to-
hand, chair balancing, artistic cycling, vertical rope, trampoline
and Korean cradle. She is best known to Cirque fans as one of
Quidam's Spanish Web artists featured on that show's DVD.
Also featured on the Quidam DVD and needing no introduction to
Cirque fans is the seventh doigt, renowned contortionist Isabelle
Chassé known as a member of the famed contortion quartet featured in
Nouvelle Expérience and Saltimbanco as well as for her solo Aerial
Contortion in Silk act in Quidam.
Rounding out the cast and providing musical support is Montreal's
own DJ Pocket, a talented mix artist who provides the upbeat and
energetic musical accompaniment to the show by spinning and mixing
pre-recorded music, singing, rapping, beat-boxing and playing
synthesizers. The music featured in the show is an eclectic mix of
hip-hop, house, electronica, swing, fusion tango and various other
urban styles as well as some live musical numbers performed by the
artists themselves. DJ Pocket watches over the proceedings from his
DJ booth located on the upper tier of the loft next to a large blank
wall used as a video screen to display the shows frequent multimedia
elements.
While the audience is getting settled the loft mates circulate
making sure everybody is comfortable, treating us as if we were
guests at a small get-together. Shana wanders over and offers me
some of her potato chips. Faon and Gypsy both introduce themselves
to me and shake my hand warmly. The guys are still busy greeting
guests at the door...er...fridge.
When everyone is settled in their seats the loft mates proceed to go
about their daily lives. Sam is busily writing at a desk at the
back of the stage, Isabelle is soaking in the tub, Shana sits by the
TV, Gypsy reads a magazine on the kitchen table. Meanwhile,
Patrick, a fireball of energy is finding amusement with a large foam
pillow shaped like a staircase. What ensues is a wild and chaotic
tumbling routine as Pat climbs, jumps, rolls and crashes repeatedly
against the stairs while his roommates, in contrast, obliviously go
about their daily routine. The comedic, kinetic and slightly
spasmodic nature of the routine helps set the tone of the show and
brings it to the high energy level where it stays for most of the
evening.
After Patrick finishes his kamikaze stair dance, Gypsy officially
opens the show with a monologue (speaking French for the Montreal
crowd), and waxes poetically about an apple in her hand asking a
member of the audience, whom she singled out before the show,
whether he would take a bite if she offered. However, if he did,
Gypsy warned, it would be the end of our story. As she gazes
reflectively at the apple Patrick distracts her with a kiss on the
cheek, steals the apple from her hand and hurls it into the kitchen.
The lights come up and we find the rest of the lofters seated around
the kitchen table beating their cutlery rhythmically. Isabelle,
seated on the table, appears to have caught the tossed apple in her
mouth. She wraps herself around the red tablecloth and magically
rises above the stage to perform her Aerial Contortion in Silk act.
Though executing many skills identical to her act in Quidam, the
aerial contortion here is presented in a very different context. As
a rock song about temptation plays the sexy contortionist writhes
and flexes her body while flirtatiously eating the apple and
dangling from her feet in the silk. The intention of the act is
clear; her serpentine movements and the playful act of eating an
apple hark back to the original sin. She is a sexy temptress; at
once Eve and the snake in the Garden of Eden beckoning us to taste
the forbidden fruit. The flirtatious, fun and sexually charged
presentation of the act is a stark contrast to the mournful and
melodramatic version performed in Quidam, which belies not only
Isabelle's physical flexibility but her artistic flexibility as
well. Isabelle returns later in the show to perform a more grounded
contortion act on a dark stage; the only illumination emanating from
flashlights strapped to the contortionist's lithe body. This act
produces some fascinating imagery.
From there the show continues with one high caliber performance
following another and, in the style of Cirque du Soleil, all the
acrobatic elements are seamlessly integrated with dance and
choreography. The dance in 7 Doigts is influenced much more by
modern dance and is less classical in style than in most Cirque
shows. The resultant style of movement is quite avant-garde.
Sometimes as a group, sometimes in pairs and at times individually
the performers execute very physically demanding choreography. In
one interlude Seb and Faon perform an acrobatic pas de deux with
influences from sport acrobatics mixed pairs.
After an interlude where Gypsy mimics the speech of a self-
help/relaxation guru ending in a nervous breakdown, Shana flies
upward to perform poses and balances in a breathtaking static
trapeze number. Later in the show, she soars across the stage and
performs thrilling dives on a swinging trapeze.
At one point in the evening Sam gathers everyone's attention and
tells us that the poem hes been writing during the course of the
show is complete. His roommates gather around as he pours out his
soul in the form of a heart-wrenching poem entitled "Solitude".
However, his companions snicker under their breath at his sappy,
sentimental poem. Eventually Sam finds himself alone on stage, as a
projection of his image appears overhead. He makes his way over to
the kitchen table where the tabletop has been removed and a set of
balancing canes is found in its place. Sam proceeds to perform a
hand balancing routine of extraordinary strength and dexterity. One
by one his housemates take away the lighted canes until he is
perched on the lone remaining cane.
Another of the shows highlights comes in the form of Faon's original
aerial act using a series of metal chains executing skills usually
performed in a much more giving medium like silk. Faon balances,
twists and turns in the air while wrapped in the metal chains
producing some amazing images. This act also has a distinctive
sexual undertone, and presented in a different context would be
perfectly suited for Zumanity.
The real show-stopper of the evening comes when Seb and Pat
manipulate what appear to be marionette puppets from behind the
television set. When the TV is removed we see that they are
actually twirling diabolos (Chinese yo-yos). To a rousing big band
swing score the pair toss the diabolos high in the air performing
spectacular acrobatic tumbling routines before catching them. This
high-energy act brings down the house.
If the acts are unforgettable, the interludes between are no less
so. The impeccably timed comedic vignettes mixed with hip modern
choreography make inventive use of props as diverse as kitchen
knives, lampshades and Barbie dolls. In one memorable vignette,
Gypsy stands on the loft's bathtub, holding the showerhead like a
microphone and croons the Peggy Lee standard "Waitin' for the Train
to Come In". Meanwhile her loft mates, sitting on easy chairs,
lying on top of the TV or sitting in the tub, link together to form
a train being pulled across the stage by Seb who puffs on a
cigarette. And as rthe caboose, Patrick rolls on roller skates
strumming a ukulelea, an inventive comic image.
When it's all over the small crowd leaps to its feet in an
enthusiastic ovation that would match the volume of the one given by
the thousands in the big top. Gypsy produces a final treat; she has
baked us an apple pie and invites the audience down to the stage to
have a slice and mingle with the performers. The crowd
enthusiastically obliges and soon the scene in the loft resembles a
house party as guests crowd to the stage to congratulate the artists
on an excellent job.
In many ways Les 7 Doigts de la Main is the anti-Cirque du Soleil.
Take a Cirque show and strip away the over-the-top costumes, world
beat score and large, mechanized set pieces and you're left with the
heart of the performance, the artists and the acrobatics. The
gritty, raw, bohemian nature of the show makes it the purest form of
theatrical circus, where the acrobatics can be presented in an
artistic context without being burdened by the structure and process
of a large company or the rigors of a single director's vision. The
group's wildly fresh independent style, boundless creativity and
keen eye for artistry is refreshing and at times makes Cirque du
Soleil look as corporate and over-produced as Disney on Ice by
comparison. It is this air of independence that makes Les 7 Doigts
de la Main so unique; a true diamond in the rough. This show really
is a treasure not to be missed. I cannot recommend it highly
enough.
Les 7 Doigts de la Main plays a limited engagement in San Francisco,
CA from December 15-31, 2003 at the Palace of Fine Arts. For
reservations sales call City Box Office (415-392-4400). For more
information visit < http://www.les7doigtsdelamain.com >.
=======================================================================
LE SPECTATEUR:
"A Christmas Stocking Stuffer"
By: Keith Johnson - Seattle, Washington (USA)
=======================================================================
Next Summer marks the 20th anniversary of Cirque du Soleil. While I
assume there will be some official marking of the anniversary by
Cirque, we're not currently aware of any major plans. This got me to
thinking; what would make a proper celebration of Cirque's 20th year?
What kind of celebration would be grandiose enough, dramatic enough,
"Cirque-ey" enough to properly pay tribute to such an inventive,
imaginative organization? As a small "stocking stuffer for the
imagination" for our Christmas issue, I invite you to fantasize with
me as we envision just such an event. Just imagine this...
Saturday, June 19, 2004 - Montreal, Quebec - On this warm partly
cloudy evening, spotlights sweep the sky over downtown Montreal. They
herald the arrival of the biggest social and cultural event of the
summer season.
If you were to follow them to their source you'd find the Place des
Arts, the cultural center of the city. A complex of theatres there
hold host to a number of artistic companies. And the main centerpiece
is the Salle Wilfrid Pelletier, at almost 3,000 seats the largest
multi-purpose hall in Canada. It is from the halls front plaza that
our spotlights broadcast their light.
While on any other night a ballet or opera might be playing, tonight
it is the Orchestre Symphonique de Montreal which shall take center
stage. And as the patrons make their way past the spotlights and into
the entrance, we see nothing out of the ordinary. Dressed in their
evening finest are the crème de la crème of Montreal society clutching
tickets in hand. It's only when we give our tickets over to the
ushers that tonights purpose becomes more clear, as all the ushers and
theater staff are wearing...Cirque du Soleil jester hats!
For tonight is no ordinary night. For this one night, one performance
only, the Place des Arts and the Montreal Symphony (celebrating it's
own 70th anniversary) will be transformed and infused by the magic of
Cirque du Soleil. For this is the culmination of Cirque's 20th
anniversary celebration, a date carefully chosen to be as close as
possible to Cirque du Soleil's first official performance, on June 16,
1984. And as we glide past the ushers and into the lobby, we take
another glance at our tickets, trying hard not to notice the $500.00
CDN price tag each. Yes, we're in the right place on the right night,
for "Cirque du Soleil: An Orchestral Celebration" - a salute to the
music and magic of Cirque du Soleil presented as a benefit for Oxfam
and Cirque du Monde.
Even before we enter the auditorium, we're aware of subtle touches
meant to alter our mood. Hawkers stand atop boxes hawking souvenier
programs. Deep red velvet curtains decorate the entrance area. And
the din of conversation takes on a higher pitch of anticipation than
usual.
Upon entering the auditorium, we are enveloped in Cirque atmosphere.
Several Cirque clowns and characters hustle through the aisles,
engaging theater goers in pre-show "animation", several scenarios
going on simultaneously. Down one aisle Alegria's clowns play with
popcorn, while down another Varekai's "ushers" try to sit people.
Brian le Petit from Mystere is also here, performing his mischief.
It's a chaotic scene but we're able to make our way to our seats
safely. Once seated we have a chance to fully appreciate one of the
decorations - onto the main curtain is projected the Cirque du Soleil
"sun" corporate symbol, smiling serenely over the audience.
Other clues also reveal the special-ness of the evening. Camera
crews, including cameras on dollys and cranes abound, ready to record
each exciting moment from all possible angles for later release on
home video (how else to recoup the expense?). And several
recognizable faces are scattered throughout the audience, from
political life to the arts to old-time Cirque veterans.
At approximately the stated start time of 8:00pm the house lights dim,
and a deep-voice narrator intones, "Ladies and gentlemen, the Prime
Minister of Canada, Mr. Paul Martin." (Since this is my fantasy,
we'll just assume everybody speaks English, sorry Francophiles). Mr.
Martin takes the stage to a round of applause and commences to speak.
"For 20 years, the Cirque du Soleil has enchanted audiences the world
over..." (We won't bore you with his full speech.) "And tonight is the
culmination of their 20th year anniversary celebration, as we present..."
But he isn't allowed to finish, as at that moment Dennis Lacombe, in
his "Conductor" character from "Cirque Reinvente" bursts onstage
waving his baton. He shoos Mr. Martin offstage and steps back to
center stage to ponder the sun-emblazoned curtain. With a dramatic
flailing of his baton arm, the curtain parts to reveal the Montreal
Symphony, decked out in tie and tails.
Mr. Lacombe steps to the podium and begins to do his famous bit with
the "unfolding score" of music he has brought on stage with him,
finally duct taping it to his music stand - just like in the video.
But as he raises his baton hand to start the first number, he himself
is also interrupted by a blast of brass and drums from offstage!
All Lacombe can do is look on as onstage strut a rag-tag band of
musicians - La Fanfafonie, Cirque's first "official" band. They take
the stage playing Cirque's early theme march, "Le Cirque du Soleil."
The members all look older, true, but still play their instruments
with vigor. As they parade across the stage, one of the band members
waits behind. He motions to Lacombe to leave the podium, which he
does blustering and sputtering. The narrator voice appears again,
"Ladies and gentlemen, your conductor for the first half of tonights
program, the first Musical Director of Cirque du Soleil, Rene Dupere!"
Mr. Dupere turns around and bows to the audience, and receives the
first of what will be many of the nights standing ovations. When the
applause dies down, Mr. Dupere brings the orchestra to ready, and the
first musical selection of the night begins, "Ouverture" from the rare
first version of the "Cirque du Soleil" album.
As the selection continues, another feature of the show makes it's
appearance. In synchronization with the music, a video screen placed
above the orchestra plays video taken from Cirque shows. Highlighting
the act that the music accompanies, they add a beautiful visual
component to the compelling music.
After hearty applause for "Ouverture," Mr. Dupere begins his second
selection, "Eclipse" from "Nouvelle Experience," again accompanied by
projected video. Then he starts "Saltimbanco." As it begins, a set
of Chinese Poles are wheeled on stage. After it come a half-dozen or
so Chinese Pole performers, who proceed to perform their act
flawlessly to the musical accompanyment.
The music as played by the Montreal Symphony is overpowering. The
orchestral arrangements, all specially created for this evening, bring
out the power and nuance of the music and utilize the orchestra to the
fullest. It brings tingles to the audience spines, a feeling of
electicity. And at appropriate moments, a 100-voice chorus behind the
orchestra is called upon to add to the orchestras power.
And so the selections continue, some blending into one another, others
standing on their own - each accompanied either by projected video or
live performances. Since this is fantasy, we each have our own ideas
of what Cirque songs we might like to see played by a full symphony
orchestra. You can imagine your own, in whatever order you choose.
Some ideas of music from Dupere's canon that might best lend
themselves to orchestral arrangement are...
From "Nouvelle Experience" - Meandres, Bolero, Ballant (with it's
chorus).
From "Saltimbanco" - Kumbalawe, Pokinoi (another one for the chorus),
Il Sogno di Volare, and especially Adagio (with a guest performance by
the Adagio act family).
From "Alegria" - Querer, Irna, Icare, Cerceaux (with manipulation
artist Elena Lev making a brief return to perform her magic).
From "Mystere" - Ulysse, Kalimondo (another great chorus)
But he isn't restricted to his own compositons. During the concert
we're treated to some of the selections of Violaine Corradi...
From "Dralion" - Stella Errans, Ballare (either would be accompanied
with a cameo by Erik Karol), Ninkou Latora
From "Varekai" - Vocea, Euphoria (with a performance by the Icarians
games artists), Mutationis (with Olga balancing on those canes),
Patzivota, Funambol (both great for the chorus).
And then it is intermission. As we make our way to the lobby to
stretch our legs we are again greeted with Cirque characters. Several
who have appeared in the Tapis Rouge of various Cirque shows are
present here, mingling with guests and causing laughter and havoc.
After the audience settles in for the second half of the show, the
hall lights dim once again. "Ladies and Gentlemen, your conductor
for the second half of tonights concert, Mr. Benoit Jutras." Mr.
Jutras strides onstage to rapturous applause.
His selections begin more quietly, with "Jeux d' Eau" from "O". The
fragile melody is slowly carried from the cello to strings to a gentle
accompanyment of horns. It raises goose bumps.
As before, what else might you wish to hear? They are all here,
including perhaps...
From "Quidam" - Incantation, Reveil, Misere (with a performance by the
Banquine troup).
Also from "Quidam" - "Let Me Fall" with an audience-astonishing
special appearance by Josh Groban (yeah, he covered the tune, but
wouldn't it be cool to have him here, paying back a little of the debt
he owes to Cirque?)
From "La Nouba" - La Nouba, Liama (featuring a great cameo vocal by
Dessy)
From "Journey of Man" (and also "O") - Journey of Man (sung in
English), while a trapeze artist gently sways over the orchestra.
From "O" - Remeus, Desert.
The last selection of Mr. Jutras portion of the concert comes all too
quickly. A specially-written piece, called "Celebration" makes it's
world-premiere here under his conducting hand. As small quotes and
themes from music written for Cirque over the last 20 years weaves
it's way through the air, the projections illustrate in brief the last
20 years of Cirque's rise to prominence.
Bookending Mr. Jutras's portion of the show is another selection from
"O", the beautiful "O". As the last strains of the song fade into the
hall, the audience erupts into an emotional standing ovation. Every
person in the hall is on their feet clapping and cheering. It is into
this maelstrom of noise that another figure makes his way on stage,
Guy Laliberte, Owner and CEO of Cirque du Soleil. The audience renews
its enthusiasm and the cheering begins anew.
When it finally dies down, Mr. Laliberte addresses the audience. "We
had no idea when we started 20 years ago that we would be where we are
today. Our success is due in no small part to the countless numbers
of artists, staff, and support people that made the Cirque run. It is
to these people that we dedicate tonights show. (applause) I'd also
like to take a moment to thank the many creators who have helped shape
our shows, the costume, lighting, movement and sound designers and
others, who take the directors vision and bring it into physical form.
(applause). Each production starts out as a very simple idea - let's
put on a show. That simple idea is then given to our Directors of
Creation, who oversee the entire creative process. We are forever
endebted to Andrew Watson and Gilles Ste Croix and Guy Carron. Would
you stand please?" The three of them stand and are applauded by the
audience.
"Even when we decide to create a show, we don't know what form it will
take. For that we turn to our directors, who bring to us the spark,
the germ, that we use to create the world of each show. I would like
to thank Robert Lapage, Rene Richard Cyr, Dominic Champagne, Guy
Caron, and especially Franco Dragone for giving us a bit of their soul
that we put up on stage each night" (In succession, each stand for
recognition).
"As you have heard tonight, music is one of the key elements that
separates Cirque shows from others. And for that we have to thank the
two men you have seen onstage tonight, Rene and Benoit, as well as
Violaine Corradi, and Simon Carpentier. Their sounds expound upon the
beauty of the artists and creators work." (hearty applause)
"Finally, we would not be able to do what we do without our most
important ingredient, our audience. They are the reason for our
existance, why we choose to live the vagabond life, why we train, why
we hurt, and why we try. It is for you, most of all, that we dedicate
our efforts. We would not be here if not for you."
As the applause of the audience dies down, we hear the beginnings of
the last song of the evening. The melody is true and instantly
recognizable. We can't think it would get any better than this, but
it does. For out from the side stage appears Francesca Gagnon,
complete in White Singer costume, to sing "Alegria." As she sings,
all of the evenings guest stars and performers come back on stage to
join in the chorus.
The audience doesn't get the chance to sit back down, as they stay
standing throughout the entire song. Upon the final drop of Mr.
Jutras baton, the hall erupts again, continuing the standing ovation
for several minutes. Several curtain calls later, the sun-emblazoned
curtain falls for the final time on the evening.
We have indeed witnessed something special and unique, if only in our
minds eye. And as we wander outside into the night, we can only look
at each other in wordless amazement. We were there!
Now what do I think of the possibilities of this actually happening?
Not in 2004 certainly, it would take a good 18 months or more to
coordinate such an event (so chide me for not having written this for
Christmas *last* year). So perhaps consider this an idea for the 25th
Anniversary of Cirque du Soleil. And I say here and now, to anyone
involved in any official capacity with Cirque du Soleil - I hereby
grant you full use of this idea, freely and without expectation of
compensation. Except for a small mention in the program book. Oh,
and 4 of the best seats in the house.
=======================================================================
PARTING QUOTE
=======================================================================
"Thank you. Thank you to the Makers of Rules. To the Breakers of
Backs. To the sincere Autocrats. To the false Democrats. To the
Builders of Walls. To the Painters of Lines. Thank You. Thank
you again. To those who Tattoo Numbers. To those who point
fingers. To those who count their greed. To those who split by
colour. To those who smile their lies. Thank you. Thank you so
very much. Please, step into the Spotlight. Let us take your
picture. To immoralize you. To thank you. Let us engrave your
faces into our album of infamy. So that we may never forget. So
that we may never accept. Viva L'Alegría!"
- Alegria
=======================================================================
SUBSCRIPTION INFORMATION
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=======================================================================
COPYRIGHT AND DISCLAIMER
=======================================================================
"Fascination!" is Ricky Russo, Keith Johnson, Paul Roberts, and
Wayne Leung.
"Fascination! Newsletter" is a concept by Ricky Russo. Copyright (c)
2001-2003 Ricky Russo, published by Vortex/RGR Productions, a
subsidiary of Communicore Enterprises. No portion of this newsletter
can be reproduced, published in any form or forum, quoted or
translated without the consent of the "Fascination!
Newsletter." By sending us correspondence, you give us permission
(unless otherwise noted) to use the submission as we see fit, without
remuneration. All submissions become the property of the "Fascination!
Newsletter." "Fascination! Newsletter" is not affiliated in any way
with Cirque du Soleil. Cirque du Soleil and all its creations are
Copyright (c) and are registered trademarks (TM) of Cirque du Soleil,
Inc., and Créations Méandres, Inc. All Rights Reserved. No copyright
infringement intended.
=======================================================================
